UNIVERSITY  OF  CALIFORNIA 
AT   LOS  ANGELES 


TfOOHDS  HrjTCHt..  -MS 


THE 

STANDARD  OPERAS 

THEIR  PLOTS/  THEIR  MUSIC,  AND 
THEIR  COMPOSERS 


BY   GEORGE    P.   UPTON 

AUTHOR  OF 

"THE  STANDARD   ORATORIOS,"   "STANDARD  CANTATAS," 

"STANDARD    SYMPHONIES,"    "WOMAN    IN 

MUSIC,"    ETC. 


i  i 

FOURTEENTH    EDITION 


CHICAGO 

A,  C.  McCLURG   AND   COMPANY 
1899 

i  in  5- 

5f    ,3  1902 


COPYRIGHT 

Bv  JANSEN,  MCCLURG  AND  Co. 
A.D.  1885 


COPYRIGHT 
BY  A.  C.  MCCLURG  AND  Co. 

A.  D.    1896 


Music 
Library 


XXTI    * 


UPTON'S    MUSICAL   HANDBOOKS. 


UNIFORM     IN     STYLE. 


The  Standard  Operas.  Their  Plots,  their  Music,  and  their 
Composers.  A  Handbook.  12010,  yellow  edges,  $1.50;  extra 
gilt,  gilt  edges,  $2.00. 

II. 

The  Standard  Oratorios.  Their  Stories,  their  Music,  and 
their  Composers.  A  Handbook.  i2tno,  yellow  edges, 
$1.50;  extra  gilt,  gilt  edges,  $2.00. 

III. 

The  Standard  Cantatas.  Their  Stories,  their  Music,  and 
their  Composers.  A  Handbook.  121110,  yellow  edges, 
$1.50 ;  extra  gilt,  giit  edges,  $2.00. 


IV. 

Tho  Standard  Symphonies.  Their  History,  their  Music, 
and  their  Composers^  ^A  Handbook.  i2mo,  yellow  edges, 
$1.50;  extra  gilt,  gilt  edges,  $2.00. 


PREFACE. 


|HE  object  of  the  compiler  of  this  Hand- 
book is  to  present  to  the  reader  a  brief 
but  comprehensive  sketch  of  each  of  the 
operas  contained  in  the  modern  repertory 
which  are  likely  to  be  given  during  regular  seasons. 
To  this  end  he  has  consulted  the  best  authorities, 
adding  to  the  material  thus  collected  his  own  obser- 
vations, and  in  each  case  presented  a  necessarily 
brief  sketch  of  the  composer,  the  story  of  each  opera, 
the  general  character  of  the  music,  its  prominent 
scenes  and  numbers,  —  the  latter  in  the  text  most 
familiar  to  opera-goers,  —  the  date  of  0rst  perform- 
ances, with  a  statement  of  the  original  cast  wherever  it 
has  been  possible  to  obtain  it,  and  such  historical  in- 
formation concerning  the  opera  and  its  composition 
as  will  be  of  interest  to  the  reader.  The  work  has 
been  prepared  for  the  general  public  rather  than  for 
musicians ;  and  with  this  purpose  in  view,  technicali- 
ties have  been  avoided  as  far  as  possible,  the  aim 


4  PREFACE. 

being  to  give  musically  uneducated  lovers  of  opera 
a  clear  understanding  of  the  works  they  are  likely 
to  hear,  and  thus  heighten  their  enjoyment.  In  a 
word,  the  operas  are  described  rather  than  criticised, 
and  the  work  is  presented  with  as  much  thorough- 
ness as  seemed  possible  considering  the  necessarily 
brief  space  allotted  to  each.  In  the  preparation  of 
the  Handbook,  the  compiler  acknowledges  his  indebt- 
edness to  Grove's  excellent  "  Dictionary  of  Music  " 
for  dates  and  other  statistical  information ;  and  he  has 
also  made  free  use  of  standard  musical  works  in  his 
library  for  historical  events  connected  with  the  per- 
formance and  composition  of  the  operas.  It  only 
remains  to  submit  this  work  to  opera-goers  with  the 
hope  that  it  may  add  to  their  enjoyment  and  prove 
a  valuable  addition  to  their  libraries. 

G.  P.  U. 

CHICAGO,  August,  1885. 


CONTENTS. 


FACE 

AUBER 9 

FRA  DIAVOLO 10 

MASANIELLO 14 

THE  CROWN  DIAMONDS 19 

BALFE 25 

THE  BOHEMIAN  GIRL 26 

THE  ROSE  OF  CASTILE 32 

BEETHOVEN 36 

FIDELIO 37 

BELLINI 43 

NORMA 44 

LA  SONNAMBULA 48 

I   PURITANI 50 

BIZET 54 

CARMEN S5X 

BOIELDIEU 60 

LA  DAME  BLANCHE 61 


6  CONTENTS. 

PAGE 

BOITO 65 

>MEPHISTOPHELES 66 

DELIBES 71 

LAKME 72 

DONIZETTI 75 

THE  DAUGHTER  OF  THE  REGIMENT       ....  76 

LA  FAVORITA       80 

DON  PASQUALE 83 

vXuciA  DI  LAMMERMOOR       86 

L'  ELISIR  D'  AMORE 89 

LUCREZIA  BORGIA 92 

FLOTOW 96 

_.;£  V-MARTHA      98 

STRADELLA      102 

GLUCK 105 

ORPHEUS 107 

GOETZ in 

THE  TAMING  OF  THE  SHREW 112 

GOLDMARK 116 

THE  QUEEN  OF  SHEBA 117 

MERLIN 121 

GOUNOD 125 

FAUST 126 

ROMEO  AND  JULIET 131 

MlREILLE      .  • 133 

HALEVY 137 

s*  THE  JEWESS 138 

HUMPERDINCK 142 

HANSEL  AND  GRETEL       143 


CONTENTS.  7 

PAGB 

LEONCAVALLO 148 

\/  I  PAGLIACCI 149 

MASCAGNI 153 

K  \/  CAVALLERIA  RUSTICANA      155 

MEYERBEER       159 

THE  HUGUENOTS 161 

THE  STAR  OF  THE  NORTH 166 

ROBERT  THE  DEVIL 171 

DINORAH 176 

THE  PROPHET 180 

THE  AFRICAN 185 

MOZART      190 

THE  MARRIAGE  OF  FIGARO       192 

DON  GIOVANNI    .    .    .' 198 

THE  MAGIC  FLUTE 204 

ROSSINI       210 

^•THE  BARBER  OF  SEVILLE 212 

SEMIRAMIDE 216 

WILLIAM  TELL 220 

RUBINSTEIN       225 

NERO       226 

THOMAS 231 

MlGNON         232 

VERDI       238 

ERNANI 239 

^RIGOLETTO  244^ 

LA  TRAVIATA  249 

V  IL  TROVATORE 253 

THE  MASKED  BALL 257 

•/AIDA 262  X 


8  CONTENTS. 

PAGE 

OTHELLO 266 

FALSTAFF 270 

WAGNER 275 

RlENZI 277 

^THE  FLYING  DUTCHMAN       284 

TANNHAUSER 288 

LOHENGRIN 293 

VTRISTAN  AND  ISOLDE 299 

THE  MASTERSINGERS 303 

'•> ,     THE  RING  OF  THE  NIBELUNG 309 

VDAS  RHEINGOLD      319 

"'DIE  WALKURE 323 

'^SIEGFRIED .  329 

*DlE  GOTTERDAMMERUNG 335 

PARSIFAL 340 

WALLACE 349 

MARITANA 350 

WEBER 356 

DER  FREISCHUTZ 358 

OBERON        365 

EURYANTHE 37! 

APPENDIX       .375 

f -^ 

INDEX     .    .-.•'.-.    .    .    .    .    . 379 


THE   STANDARD  OPERAS. 


AUBER. 

ANIEL  FRANgOIS  ESPRIT  AUBER, 
one  of  the  most  prominent  representa- 
tives of  the  opera  comique,  was  born  at 
Caen,  in  Normandy,  Jan.  29,  1  784.  He 
first  attracted  attention  in  the  musical  world  by 
his  songs  and  ballads,  written  when  a  mere  boy. 
Young  as  he  was,  they  were  great  favorites  in 
French  and  English  drawing-rooms,  and  their  suc- 
cess diverted  him  from  his  commercial  intentions  to 
that  profession  in  which  he  was  destined  to  achieve 
such  popularity.  His  de"but  was  made  as  an  instru- 
mental composer  in  his  twentieth  year,  but  before 
he  had  reached  his  thirtieth  he  was  engrossed  with 
operatic  composition.  His  first  two  works  were 
unsuccessful  ;  but  the  third,  "  La  Bergere  Chate- 
laine," proved  the  stepping-stone  to  a  career  of 
remarkable  popularity,  during  which  he  produced 
a  large  number  of  dramatic  works,  which  not  only 
secured  for  him  the  enthusiastic  admiration  of  the 


IQ  THE  STANDARD   OPERAS. 

Parisians,  with  whom  he  was  always  a  favorite,  but 
also  carried  his  name  and  fame  throughout  the 
world,  and  obtained  for  him  marks  of  high  dis- 
tinction from  royalty,  such  as  the  office  of  Direc- 
tor of  the  Conservatoire  from  Louis  Philippe,  and 
that  of  Imperial  Maitre  de  Chapelle  from  Louis 
Napoleon.  He  died  May  13,  1871,  amid  the 
fearful  scenes  of  the  Paris  Commune.  His  best- 
known  operas  are:  "  Masaniello  "  (1828);  "Fra 
Diavolo"  (1830)  ;  "The  Bronze  Horse"  (1835); 
"The  Black  Domino"  (1837)  ;  "The  Crown  Dia- 
monds" (1841);  and  "Zerline"  (1851),  — the 
last-named  written  for  the  great  contralto,  Mme. 
Alboni.  Of  these,  "Fra  Diavolo,"  "Masaniello," 
and  "  The  Crown  Diamonds  "  are  as  fresh  as  ever 
in  their  French  and  Italian  settings,  though  their 
finest  successes  in  this  country  have  been  made  in 
their  English  dress. 

Jfra  pianolo. 

"  Fra  Diavolo,"  opera  comique,  in  three  acts, 
words  by  Scribe,  was  first  produced  at  the  Opera 
Comique,  Paris,  Jan.  28,  1830 ;  in  English,  at  Drury 
Lane,  London,  Nov.  3,  1831  ;  in  Italian,  at  the 
Lyceum,  London,  July  9,  1857,  for  which  occasion 
the  spoken  dialogue  was  converted  into  accompanied 
recitative.  The  composer  himself  also,  in  fitting  it 
for  the  Italian  stage,  made  some  changes  in  the 
concerted  music  and  added  several  morceaux.  The 
original  Italian  cast  was  as  follows  :  — • 


FRA   DIAVOLO.  XI 

ZERLINA Mme.  Bosio. 

LADY  ALLCASH Mile.  MARAI. 

FRA  DIAVOLO Sig.  GARDINI. 

LORD  ALLCASH Sig.  RONCONI. 

BEPPO Sig.  TAGLIAFICO. 

GIACOMO Sig.  ZELGER. 

The  original  of  the  story  of  Fra  Diavolo  is  to  be 
found  in  Lesueur's  opera,  "  La  Caverne,"  aftenvards 
arranged  as  a  spectacular  piece  and  produced  in 
Paris  in  1808  by  Cuvellier  and  Franconi,  and  again 
in  Vienna  in  1822  as  a  spectacle-pantomime,  under 
the  title  of  "The  Robber  of  the  Abruzzi."  In 
Scribe's  adaptation  the  bandit,  Fra  Diavolo,  en- 
counters an  English  nobleman  and  his  pretty  and 
susceptible  wife,  Lord  and  Lady  Allcash,  at  the  inn 
of  Terracina,  kept  by  Matteo,  whose  daughter 
Zerlina  is  loved  by  Lorenzo,  a  young  soldier,  on  the 
eve  of  starting  to  capture  Fra  Diavolo  when  the  ac- 
tion of  the  opera  begins.  In  the  first  scene  the 
English  couple  enter  in  great  alarm,  having  nar- 
rowly escaped  the  robbery  of  all  their  valuables  by 
Fra  Diavolo's  band.  The  bandit  himself,  who  has 
followed  them  on  their  journey  in  the  disguise  of  a 
marquis,  and  has  been  particularly  attentive  to  the 
lady,  enters  the  inn  just  as  Lord  Allcash  has  been 
reproving  his  wife  for  her  familiarity  with  a  stranger. 
A  quarrel  ensues  in  a  duet  of  a  very  humorous  char- 
acter ("I  don't  object").  Upon  the  entrance  of 
Fra  Diavolo,  a  quintet  ("  Oh,  Rapture  unbound- 
ed !")  ensues,  which  is  one  of  the  most  effective  and 
admirably  harmonized  ensembles  Auber  has  ever 


12  THE    STANDARD    OPERAS. 

written.  Fra  Diavolo  learns  the  trick  by  which  they 
saved  the  most  of  their  valuables,  and,  enraged  at  the 
failure  of  his  band,  lays  his  own  plan  to  secure  them. 
In  an  interview  with  Zerlina,  she,  mistaking  him  for 
the  Marquis,  tells  him  the  story  of  Fra  Diavolo  in  a 
romanza  ("  On  Yonder  Rock  reclining  "),  which  is 
so  fresh,  vigorous,  and  full  of  color,  that  it  has  become 
a  favorite  the  world  over.  To  further  his  schemes, 
Fra  Diavolo  makes  love  to  Lady  Allcash  and  sings 
an  exquisitely  graceful  barcarole  to  her  ("  The  Gon- 
dolier, fond  Passion's  Slave"),  accompanying  him- 
self en  the  mandolin.  Lord  Allcash  interrupts  the 
song,  and  the  trio,  "Bravi,  Bravi,"  occurs,  which 
leads  up  to  the  finale  of  the  act.  Fra  Diavolo  eludes 
the  carbineers,  who  have  returned,  and  they  resume 
their  search  for  him,  leaving  him  unmolested  to  per- 
fect his  plans  for  the  robbery. 

The  second  act  introduces  Zerlina  in  her  chamber 
about  to  retire.  She  first  lights  Lord  and  Lady 
Allcash  to  their  room,  a  running  conversation  occur- 
ring between  them  in  a  trio  ("  Let  us,  I  pray,  good 
Wife,  to  rest "),  which  by  many  good  critics  has  been 
considered  as  the  best  number  in  the  work.  Before 
Zerlina  returns  to  her  chamber,  Fra  Diavolo  and  his 
companions,  Beppo  and  Giacomo,  conceal  them- 
selves in  a  closet,  and,  somewhat  in  violation  of 
dramatic  consistency,  Fra  Diavolo  sings  the  beau- 
tiful serenade,  "Young  Agnes,"  which  had  been 
agreed  upon  as  a  signal  to  his  comrades  that  the 
coast  was  clear.  Zerlina  enters,  and  after  a  pretty 
cavatina  ("  '  T  is  to-morrow  ")  and  a  prayer,  charm- ' 


FRA  DIAVOLO.  !3 

ing  for  its  simplicity  ("Oh,  Holy  Virgin"),  retires 
to  rest.  The  robbers  in  attempting  to  cross  her 
room  partially  arouse  her.  One  of  them  rushes  to 
the  bed  to  stab  her,  but  falls  back  awe-stricken  as 
she  murmurs  her  prayer  and  sinks  to  rest  again. 
The  trio  which  marks  this  scene,  sung  pianissimo,  is 
quaint  and  simple  and  yet  very  dramatic.  The  noise 
of  the  carbineers  returning  outside  interrupts  the 
plan  of  the  robbers.  They  conceal  themselves  in 
the  closet  again.  Zerlina  rises  and  dresses  herself. 
Lord  and  Lady  Allcash  rush  in  en  deshabille  to  find 
out  the  cause  of  the  uproar.  Lorenzo  enters  to 
greet  Zerlina,  when  a  sudden  noise  in  the  closet  dis- 
turbs the  company.  Fra  Diavolo,  knowing  he  will 
be  detected,  boldly 'steps  out  into  the  room  and  de- 
clares that  he  is  there  to  keep  an  appointment  with 
Zerlina.  Lorenzo  challenges  him,  and  he  promises 
to  give  him  satisfaction  in  the  morning,  and  coolly 
effects  his  escape.  One  of  his  comrades,  however, 
is  captured,  and  to  secure  his  own  liberty  agrees  to 
betray  his  chief. 

The  third  act  introduces  Fra  Diavolo  once  more 
among  his  native  mountains,  and  there  is  the  real 
breath  and  vigor  of  the  mountain  air  in  his  opening 
song  ("  Proudly  and  wide  my  Standard  flies  "),  and 
rollicking  freedom  in  the  rondeau  which  follows  it 
("  Then  since  Life  glides  so  fast  away  ").  He  exults 
in  his  liberty,  and  gleefully  looks  forward  to  a  meet- 
ing with  Lord  and  Lady  Allcash,  which  he  anticipates 
will  redound  to  his  personal  profit.  His  exultation 
is  interrupted  by  the  entrance  of  the  villagers  arrayed 


I4  THE    STANDARD    OPERAS. 

in  festival  attire  in  honor  of  the  approaching  wed- 
ding ceremonies,  singing  a  bright  pastoral  chorus 
("  Oh,  Holy  Virgin  !  bright  and  fair  ").  The  finale 
of  the  act  is  occupied  with  the  development  of  the 
scheme  between  Lorenzo,  Beppo,  and  Giacomo,  to 
ensnare  Fra  Diavolo  and  compass  his  death ;  and 
with  the  final  tragedy,  in  which  Fra  Diavolo  meets 
his  doom  at  the  hands  of  the  carbineers,  but  not 
before  he  has  declared  Zerlina's  innocence.  This 
finale  is  strong  and  very  dramatic,  and  yet  at  the 
same  time  simple,  natural,  and  unstudied.  The 
opera  itself  is  a  universal  favorite,  not  alone  for  its 
naturalness  and  quiet  grace,  but  for  its  bright  and 
even  boisterous  humor,  which  is  sustained  by  the 
typical  English  tourist,  who  was  for  the  first  time 
introduced  in  opera  by  Scribe.  The  text  is  full  of 
spirit  and  gayety.  and  these  qualities  are  admirably 
reflected  in  the  sparkling  music  of  Auber.  Not  one 
of  the  books  which  the  versatile  Scribe  has  supplied 
for  the  opera  is  more  replete  with  incident  or 
brighter  in  humor.  How  well  it  was  adapted  for 
musical  treatment  is  shown  by  the  fact  that  "  Fra 
Diavolo  "  made  Auber's  reputation  at  the  Opera 
Comique. 


"  Masaniello,"  or  "  La  Muette  de  Portici,"  a  lyric 
opera  in  five  acts,  words  by  Scribe  and  Delavigne,  was 
first  produced  in  Paris,  Feb.  29,  1828;  in  English, 
at  London,  May  4,  1829  ;  and  in  Italian,  at  London, 


MASANIELLO.  !5 

March  15,  1849.  The  original  cast  included  Mme. 
Damoreau-Cinti  as  Elvira,  Mile.  Noblet  as  Fenella, 
and  M.  Massol  as  Pietro.  In  the  Italian  version, 
Sig.  Mario,  Mme.  Dorus-Gras,  and  Mile.  Leroux,  a 
famous  mime  and  dancer,  took  the  principal  parts ; 
while  in  its  English  dress,  Braham  created  one  of 
the  greatest  successes  on  record,  and  established  it  as 
the  favorite  opera  of  Auber  among  Englishmen. 

The  scene  of  the  opera  is  laid  near  Naples.  The 
first  act  opens  upon  the  festivities  attending  the 
nuptials  of  Alphonso,  son  of  the  Duke  of  Arcos,  and 
the  Princess  Elvira.  After  a  chorus  of  rejoicing, 
the  latter  enters  and  sings  a  brilliant  cavatina  ("  O, 
bel  Momento  ")  expressive  of  her  happiness.  In 
the  fourth  scene  the  festivities  are  interrupted  by 
the  appearance  of  Fenella,  the  dumb  girl,  who  im- 
plores the  princess  to  save  her  from  Selva,  one  of  the 
Duke's  officers,  who  is  seeking  to  return  her  to  prison, 
from  which  she  has  escaped,  and  where  she  has  been 
confined  at  the  orders  of  some  unknown  cavalier 
who  has  been  persecuting  her.  The  part  of  Fenella 
is  of  course  expressed  by  pantomime  throughout. 
The  remainder  of  the  act  is  intensely  dramatic. 
Elvira  promises  to  protect  Fenella,  and  then,  after 
some  spirited  choruses  by  the  soldiers,  enters  the 
chapel  with  Alphonso.  During  the  ceremony  Fenella 
discovers  that  he  is  her  betrayer.  She  attempts  to  go 
in,  but  is  prevented  by  the  soldiers.  On  the  return 
of  the  newly  wedded  pair  Fenella  meets  Elvira  and 
denounces  her  husband,  and  the  scene  ends  with  a 
genuine  Italian  finale  of  excitement. 


1 6  THE    STANDARD    OPERAS. 

The  second  act  opens  on  the  sea-shore,  and  shows 
the  fishermen  busy  with  their  nets  and  boats.  Masa- 
niello,  brother  of  Fenella,  enters,  brooding  upon  the 
wrongs  of  the  people,  and  is  implored  by  the  fisher- 
men to  cheer  them  with  a  song.  He  replies  with 
the  barcarole,  "  Piu  bello  sorse  il  giorno,"  —  a  lovely 
melody,  which  has  been  the  delight  of  all  tenors. 
His  friend  Pietro  enters  and  they  join  in  a  duet 
("  Sara  il  morir ")  of  a  most  vigorous  and  impas- 
sioned character,  expressive  of  Masaniello's  grief  for 
his  sister  and  their  mutual  resolution  to  strike  a 
blow  for  freedom.  At  the  conclusion  of  the  duet 
he  beholds  Fenella  about  to  throw  herself  into  the 
sea.  He  calls  to  her  and  she  rushes  into  his  arms 
and  describes  to  him  the  story  of  her  wrongs.  He 
vows  revenge,  and  in  a  magnificent,  martial  finale, 
which  must  have  been  inspired  by  the  revolutionary 
feeling  with  which  the  whole  atmosphere  was  charged 
at  the  time  Auber  wrote  (1828),  incites  the  fisher- 
men and  people  to  rise  in  revolt  against  their  tyran- 
nical oppressors. 

In  the  third  act,  after  a  passionate  aria  ("  II  pianto 
rasciuga")  by  Elvira,  we  are  introduced  to  the 
market-place,  crowded  with  market-girls  and  fisher- 
men disposing  of  their  fruits  and  fish.  After  a  lively 
chorus,  a  fascinating  and  genuine  Neapolitan  taran- 
telle  is  danced.  The  merry  scene  speedily  changes 
to  one  of  turmoil  and  distress.  Selva  attempts  to 
arrest  Fenella,  but  the  fishermen  rescue  her  and 
Masaniello  gives  the  signal  for  the  general  uprising. 
Before  the  combat  begins,  all  kneel  and  sing  the 


MASANIELLO.  17 

celebrated  prayer,  "  Nume  del  ciel,"  taken  from 
one  of  Auber's  early  masses,  and  one  of  his  most  in- 
spired efforts. 

The  fourth  act  opens  in  Masaniello's  cottage. 
He  deplores  the  coming  horrors  of  the  day  in  a 
grand  aria  ("  Dio  !  di  me  disponesti ")  which  is 
very  dramatic  in  its  quality.  Fenella  enters,  and 
after  describing  the  tumult  in  the  city  sinks  exhausted 
with  fatigue.  As  she  falls  asleep  he  sings  a  slumber 
song  ("'Scendi,  o  sonno  dal  ciel"),  a  most  exquisite 
melody,  universally  known  as  "  L'Air  du  Sommeil." 
It  is  sung  by  the  best  artists  mezzo  voce  throughout, 
and  when  treated  in  this  manner  never  fails  to  im- 
press the  hearer  with  its  tenderness  and  beauty. 
At  its  close  Pietro  enters  and  once  more  rouses 
Masaniello  to  revenge  by  informing  him  that  Al- 
phonso  has  escaped.  After  they  leave  the  cottage, 
the  latter  and  Elvira  enter  and  implore  protection. 
Fenella  is  moved  to  mercy,  and  a  concerted  number 
follows  in  which  Masaniello  promises  safety  and  is 
denounced  by  Pietro  for  his  weakness.  In  the  finale, 
the  magistrates  and  citizens  enter,  bearing  the  keys 
of  the  town  and  the  royal  insignia,  and  declare 
Masaniello  king  in  a  chorus  of  a  very  inspiriting 
and  brilliant  character. 

The  last  act  is  very  powerful,  both  dramatically 
and  musically.  It  opens  in  the  grounds  of  the 
Viceroy's  palace,  and  Vesuvius  is  seen  in  the  distance, 
itS'Smoke  portending  an  eruption.  Pietro  and  com- 
panions enter  with  wine-cups  in  their  hands,  as  from 
a  banquet,  and  the  former  sings  a  barcarole  ("  Ve' 


!8  THE    STANDARD    OPERAS, 

come  il  vento  irato  ").  At  its  close  other  fishermen 
enter  and  excitedly  announce  that  troops  are  mov- 
ing against  the  people,  that  Vesuvius  is  about  to 
burst  into  flame,  and  that  Masaniello,  their  leader, 
has  lost  his  reason.  This  is  confirmed  by  the  ap- 
pearance of  the  hero  in  disordered  attire,  singing 
music  through  which  are  filtered  fragments  of  the 
fishermen's  songs  as  they  rise  in  his  disturbed  brain. 
This  scene,  the  third  in  the  act,  is  one  not  only  of 
great  power  but  of  exquisite  grace  and  tenderness, 
and  requires  an  artist  of  the  highest  rank  for  its 
proper  presentation.  Fenella  rouses  him  from  his 
dejection,  and  he  once  more  turns  and  plunges  into 
the  fight,  only  to  be  killed  by  his  own  comrades. 
On  learning  of  her  brother's  death  she  unites  the 
hands  of  Alphonso  and  Elvira,  and  then  in  despair 
throws  herself  into  the  burning  lava  of  Vesuvius. 

"  Masaniello  "  made  Auber's  fame  at  the  Grand 
Opera,  as  "Fra  Diavolo"  made  it  at  the  Opeia 
Comique.  It  has  no  points  in  common  with  that 
or  any  other  of  his  works.  It  is  serious  throughout, 
and  full  of  power,  impetuosity,  and  broad  dramatic 
treatment.  Even  Richard  Wagner  has  conceded 
its  vigor,  bold  effects,  and  original  harmonies.  Its 
melodies  are  spontaneous,  its  instrumentation  full  of 
color,  and  its  stirring  incidents  are  always  vigorously 
handled.  In  comparison  with  his  other  works  it 
seems  like  an  inspiration.  It  is  full  of  the  revolu- 
tionary spirit,  and  its  performance  in  Brussels  in  1830 
was  the  cause  of  the  riots  that  drove  the  Dutch  out 
of  Belgium. 


THE   CROWN  DIAMONDS.  ip 

SFhe  (JTrotoit  ptamonbjs. 

"The  Crown  Diamonds  "  ("Les  Diamans  de  la 
Couronne  "),  opera  comique,  in  three  acts,  words 
by  Scribe  and  St.  George,  one  of  the  most  charm- 
ing of  Auber's  light  operas,  was  first  produced  in 
Paris  in  1841,  but  its  reputation  has  been  made  on 
the  English  stage.  It  was  first  performed  in  Lon- 
don, at  the  Princess  Theatre,  May  2,  1844,  with 
Mme.  Anna  Thillon,  a  charming  singer  and  most 
fascinating  woman,  as  Catarina ;  but  its  success  was 
made  at  Drury  Lane  in  1854  by  Louisa  Pyne  and 
Harrison,  who  took  the  parts  of  Catarina  and  Don 
Henrique.  The  other  roles,  Count  de  Campo 
Mayor,  Don  Sebastian,  Rebolledo,  and  Diana,  were 
filled  by  Mr.  Horncastle,  Mr.  Reeves,  Mr.  Bor- 
rani,  and  Miss  Pyne,  sister  of  the  preceding,  and 
with  this  cast  the  opera  ran  a  hundred  nights. 

The  story  of  the  opera  is  laid  in  Portugal,  time, 
1777.  The  opening  scene  discloses  the  ruins  of 
a  castle  in  the  mountains,  near  the  monastery  of 
St.  Huberto,  where  Don  Henrique,  nephew  of  the 
Count  de  Campo  Mayor,  Minister  of  Police  at 
Coimbra,  overtaken  by  a  storm,  seeks  shelter.  At 
the  time  of  his  misfortune  he  is  on  his  way  to  take 
part  in  the  approaching  coronation,  and  also  to  sign 
a  marriage  contract  with  his  cousin  Diana,  daugh- 
ter of  the  Minister  of  Police.  He  solaces  himself 
with  a  song  ("  Roll  on,  Roll  on  "),  during  which  he 
hears  the  blows  of  hammers  in  a  distant  cavern, 
and  on  looking  round  discovers  Rebolledo,  the 


20  THE    STANDARD    OPERAS. 

chief  of  the  coiners,  and  two  of  his  comrades,  with 
his  trunk  in  their  possession,  the  contents  of  which 
they  proceed  to  examine.  Don  Henrique  con- 
ceals himself  while  Rebolledo  is  singing  a  rollicking 
muleteer's  song  ("O'er  Mountain  steep,  through 
Valley  roaming").  At  its  conclusion  Rebolledo, 
about  to  summon  the  other  coiners  to  their  secret 
work,  discovers  Don  Henrique,  and  thinking  him  a 
spy  rushes  upon  him.  He  is  saved  by  the  sudden 
entrance  of  Catarina,  the  leader  of  the  gang,  who 
tells  the  story  of  her  life  in  a  concerted  number  that 
reminds  one  very  strikingly  of  the  bandit  song  in 
"Fra  Diavolo."  After  examining  Don  Henrique, 
and,  to  his  surprise,  showing  an  intimate  acquaint- 
ance with  his  projects,  she  returns  him  his  property, 
and  allows  him  to  depart  on  condition  that  he 
shall  not  speak  of  what  he  has  seen  for  a  year. 
He  consents ;  and  then  follows  another  of  the  con- 
certed numbers  in  which  this  opera  abounds,  and  in 
which  occurs  a  charming  rondo  ("  The  Young  Pe- 
drillo  "),  accompanied  by  a  weird,  clanging  chorus. 
Before  he  can  effect  his  departure  the  gang  find 
that  they  are  surrounded  by  troops  led  by  Don 
Sebastian,  a  friend  of  Don  Henrique.  The  coiners, 
in  company  with  the  latter,  however,  make  their 
escape  in  the  disguise  of  monks  on  their  way  to 
the  neighboring  monastery,  singing  a  lugubrious 
chorus  ("  Unto  the  Hermit  of  the  Chapel  "),  while 
Catarina  and  Rebolledo  elude  the  soldiers  by  taking 
a  subterranean  passage,  carrying  with  them  a  casket 
containing  some  mysterious  jewels. 


THE   CROWN  DIAMONDS.  2l 

The  second  act  opens  in  the  Chateau  de  Coim- 
bra,  and  discovers  the  Count,  Don  Henrique,  Don 
Sebastian,  and  Diana.  The  first  scene  reveals  to  us 
that  Don  Henrique  is  in  love  with  the  mysterious 
Catarina,  and  that  Diana  is  in  love  with  Don  Sebas- 
tian. In  a  sportive  mood  Diana  requests  Don 
Henrique  to  sing  with  her,  and  chooses  a  nocturne 
called  "  The  Brigand,"  which  closes  in  gay  bolero 
time  ("  In  the  Deep  Ravine  of  the  Forest  ").  As 
they  are  singing  it,  Don  Sebastian  announces  that 
a  carriage  has  been  overturned  and  its  occupants 
desire  shelter.  As  the  duet  proceeds,  Catarina  and 
Rebolledo  enter,  and  a  very  flurried  quintet  ("  Oh, 
Surprise  unexpected ! ")  occurs,  leading  up  to  an 
ensemble  full  of  humor,  with  a  repetition  of  the 
brigand  song,  this  time  by  Catarina  and  Diana,  and 
closing  with  a  bravura  aria  sung  by  Catarina 
("  Love  !  at  once  I  break  thy  Fetters  ").  Catarina 
and  Rebolledo  accept  the  proffered  hospitality, 
but  the  latter  quietly  makes  his  exit  when  Diana 
begins  to  read  an  account  of  a  robbery  which 
contains  a  description  of  himself  and  his  compan- 
ion. Catarina  remains,  however,  in  spite  of  Don 
Henrique's  warning  that  she  is  in  the  house  of  the 
Minister  of  Police.  In  a  moment  of  passion  he 
declares  his  love  for  her  and  begs  her  to  fly  with 
him.  She  declines  his  proffer,  but  gives  him  a  ring 
as  a  souvenir.  A  pretty  little  duet  ("  If  I  could  but 
Courage  feel ")  ensues  between  Diana  and  Don 
Henrique,  in  which  she  gently  taunts  him  with  his 
inattention  to  her  and  his  sudden  interest  in  the 


22  THE    STANDARD    OPERAS. 

handsome  stranger.  At  this  juncture  the  Count 
enters  in  wild  excitement  over  the  announcement 
that  the  crown  jewels  have  been  stolen.  Don 
Henrique's  ring  is  recognized  as  one  of  them,  and 
in  the  excitement  which  ensues,  Catarina  finds  her- 
self in  danger  of  discovery,  from  which  she  is  res- 
cued by  Diana,  who  promises  Don  Henrique  she 
will  send  her  away  in  the  Count's  carriage  if  he 
will  agree  to  refuse  to  sign  the  marriage  contract. 
He  consents,  and  she  departs  upon  her  errand.  At 
this  point  in  the  scene  Don  Henrique  sings  the 
beautiful  ballad,  "  Oh,  whisper  what  thou  feelest !  " 
originally  written  for  Mr.  Harrison.  This  song 
leads  up  to  a  stirring  finale,  in  which  Don  Hen- 
rique refuses  to  sign  the  contract  and  Catarina 
makes  her  escape. 

The  last  act  opens  in  the  anteroom  of  the  royal 
palace  at  Lisbon,  where  Diana  is  waiting  for  an 
audience  with  the  Queen.  She  sings  another  in- 
terpolated air,  originally  written  for  Louisa  Pyne 
(" When  Doubt  the  tortured  Frame  is  rending"), 
and  at  its  close  the  Count,  Don  Henrique,  and 
Don  Sebastian  enter.  While  they  are  conversing, 
Rebolledo  appears,  announced  as  the  Count  Fuen- 
tes,  and  a  quintet  occurs,  very  slightly  constructed, 
but  full  of  humor.  An  usher  interrupts  it  by 
announcing  the  Queen  will  have  a  private  audi- 
ence with  the  Count  Fuentes.  While  awaiting  her, 
the  latter,  in  a  monologue,  lets  us  into  the  secret 
that  the  real  crown  jewels  have  been  pledged  for 
the  national  debt,  and  that  he  has  been  employed 


THE   CROWN  DIAMONDS.  23 

to  make  duplicates  of  them  to  be  worn  on  state 
occasions  until  the  real  ones  can  be  redeemed. 
The  Queen  enters,  and  expresses  her  satisfaction 
with  the  work,  and  promotes  him  to  the  position 
of  Minister  of  Secret  Police.  On  his  departure 
she  sings  a  charming  cavatina  ("  Love,  dwell  with 
me  "),  and  at  its  close  Count  de  Campo  Mayor 
enters  with  the  decision  of  the  Council  that  she 
shall  wed  the  Prince  of  Spain.  She  returns  an- 
swer that  she  shall  make  her  own  choice.  The 
Count  seeks  to  argue  with  her,  when  she  threatens 
to  confiscate  his  estate  for  allowing  the  crown  jewels 
to  be  stolen,  and  commands  him  to  arrest  his 
daughter  and  nephew  for  harboring  the  thieves. 
Diana  suddenly  enters,  and  an  amusing  trio  en- 
sues, the  Queen  standing  with  her  back  to  Diana 
lest  she  may  be  discovered.  The  latter  fails  to 
recognize  her  as  Catarina,  and  implores  pardon  for 
assisting  in  her  escape.  The  situation  is  still  fur- 
ther complicated  by  the  appearance  of  Don  Hen- 
rique, who  has  no  difficulty  in  recognizing  Catarina. 
Bewildered  at  her  presence  in  the  Queen's  apart- 
ments, he  declares  to  Diana  that  he  will  seize  her 
and  fly  to  some  distant  land.  His  rash  resolution, 
however,  is  thwarted  by  his  arrest,  on  the  authority 
of  the  Queen,  for  treason.  A  martial  finale  intro- 
duces us  to  the  Queen  in  state.  Don  Henrique 
rushes  forward  to  implore  mercy  for  Catarina.  The 
Queen  reveals  herself  at  last,  and  announces  to 
her  people  that  she  has  chosen  Don  Henrique, 
who  has  loved  her  for  herself,  for  her  husband  and 


24  THE    STANDARD    OPERAS. 

their  king.  And  thus  closes  one  of  the  most  spark- 
ling, melodious,  and  humorous  of  Auber's  works. 
What  the  concerted  numbers  lack  in  solidity  of  con- 
struction is  compensated  for  by  their  grace  and 
sweetness. 


B  A  L  F  E. 

MICHAEL  WILLIAM  BALFE  was  born  at 
Dublin,  Ireland,  May  15,  1808.  Of  all 
the  English  opera-composers,  his  career 
was  the  most  versatile,  as  his  success, 
for  a  time  at  least,  was  the  most  remarkable.  At 
seven  years  of  age  he  scored  a  polacca  of  his 
own  for  a  band.  In  his  eighth  year  he  appeared 
as  a  violinist,  and  in  his  tenth  was  composing 
ballads.  At  sixteen  he  was  playing  in  the  Drury 
Lane  orchestra,  and  about  this  time  began  tak- 
ing lessons  in  composition.  In  1825,  aided  by 
the  generosity  of  a  patron,  he  went  to  Italy,  where 
for  three  years  he  studied  singing  and  counter- 
point. In  his  twentieth  year  he  met  Rossini, 
who  offered  him  an  engagement  as  first  barytone 
at  the  Italian  Opera  in  Paris.  He  made  his 
de"but  with  success  in  1828,  and  at  the  close  of 
his  engagement  returned  to  Italy,  where  he  ap- 
peared again  on  the  stage.  About  this  time 
(1829-1830)  he  began  writing  Italian  operas,  and 
before  he  left  Italy  had  produced  three  which 
met  with  considerable  success.  In  1835  he  returned 


26  THE    STANDARD    OPERAS. 

to  England  ;  and  it  was  in  this  year  that  his  first 
English  opera,  the  "  Siege  of  Rochelle,"  was  pro- 
duced. It  was  played  continuously  at  Drury  Lane 
for  over  three  months.  In  1836  appeared  his  "  Maid 
of  Artois  ;  "  in  1837,  "  Catharine  Grey  "  and  "  Joan 
of  Arc;  "  and  in  1838,  "Falstaff."  During  these 
years  he  was  still  singing  in  concerts  and  opera, 
and  in  1840  appeared  as  manager  of  the  Lyceum. 
His  finest  works  were  produced  after  this  date,  — 
"  The  Bohemian  Girl  "  in  1843  ;  "  The  Enchantress  " 
in  1844;  "The  Rose  of  Castile,"  "La  Zingara," 
and  "Satanella"  in  1858,  and  "The  Puritan's 
Daughter"  in  1861.  His  last  opera  was  "The 
Knight  of  the  Leopard,"  known  in  Italian  as  "  II 
Talismano,"  which  has  also  been  produced  in  Eng- 
lish as  "  The  Talisman."  He  married  Mile.  Rosen, 
a  German  singer,  whom  he  met  in  Italy  in  1835  ; 
and  his  daughter  Victoire,  who  subsequently  mar- 
ried Sir  John  Crampton,  and  afterwards  the  Due 
de  Frias,  also  appeared  as  a  singer  in  1856.  Balfe 
died  Oct.  20,  1870,  upon  his  own  estate  in  Hert- 
fordshire. The  analysis  of  his  three  operas  which 
are  best  known  —  "  The  Bohemian  Girl,"  "  Rose 
of  Castile,"  and  "  Puritan's  Daughter"  —  will 
contain  sufficient  reference  to  his  ability  as  a 
composer. 


"The  Bohemian  Girl,"  grand  opera  in  three  acts, 
words  by  Bunn,  adapted  from  St.  George's  ballet 


THE  BOHEMIAN  GIRL.  27 

of  "The  Gypsy,"  which  appeared  at  the  Paris 
Grand  Opera  in  1839,  —  itself  taken  from  a 
romance  by  Cervantes,  —  was  first  produced  in 
London,  Nov.  27,  1843,  at  Drury  Lane,  with  the 
following  cast :  — 

ARLINE Miss  ROMER. 

THADDEUS Mr.  HARRISON. 

GYPSY  QUEEN Miss  BETTS. 

DEVILSHOOF Mr.  STRETTON. 

COUNT  ARNHEIM Mr.  BORRANI. 

FLORESTEIN Mr.  DURNSET. 

The  fame  of  "The  Bohemian  Girl "  was  not  con- 
fined to  England.  It  was  translated  into  various 
European  languages,  and  was  one  of  the  few 
English  operas  which  secured  a  favorable  hearing 
even  in  critical  Germany.  In  its  Italian  form  it 
was  produced  at  Drury  Lane  as  "  La  Zingara," 
Feb.  6,  1858,  with  Mile.  Piccolomini  as  Arline; 
and  also  had  the  honor  of  being  selected  for  the 
state  performance  connected  with  the  marriage  of 
the  Princess  Royal.  The  French  version,  under  the 
name  of  "  La  Bohe'mienne,"  for  which  Balfe  added 
several  numbers,  besides  enlarging  it  to  five  acts, 
was  produced  at  the  Theatre  Lyrique,  Paris,  in 
December,  1869,  and  gained  for  him  the  Cross  of 
the  Legion  of  Honor. 

The  scene  of  the  opera  is  laid  in  Austria,  and  the 
first  act  introduces  us  to  the  chateau  and  grounds 
of  Count  Arnheim,  Governor  of  Presburg,  whose 
retainers  are  preparing  for  the  chase.  After  a  short 
chorus  the  Count  enters  with  his  little  daughter 


28  THE    STANDARD    OPERAS. 

Arline  and  his  nephew  Florestein.  The  Count  sings 
a  short  solo  ("A  Soldier's  Life"),  and  as  the 
choral  response  by  his  retainers  and  hunters  dies 
away  and  they  leave  the  scene,  Thaddeus,  a  Polish 
exile  and  fugitive,  rushes  in  excitedly,  seeking  to 
escape  the  Austrian  soldiers.  His  opening  number 
is  a  very  pathetic  song  ("  'T  is  sad  to  leave  your 
Fatherland").  At  the  end  of  the  song  a  troop 
of  gypsies  enter,  headed  by  Devilshoof,  singing  a 
blithe  chorus  ("  In  the  Gypsy's  Life  you  may 
read  ").  He  hears  Thaddeus's  story  and  induces 
him  to  join  them.  Before  the  animated  strains 
fairly  cease,  Florestein  and  some  of  the  hunters 
dash  across  the  grounds  in  quest  of  Arline,  who  has 
been  attacked  by  a  stag.  Thaddeus,  seizing  a  rifle, 
joins  them,  and  rescues  the  child  by  killing  the  ani- 
mal. The  Count  overwhelms  him  with  gratitude, 
and  urges  him  to  join  in  the  coming  festivities. 
He  consents,  and  at  the  banquet  produces  a  com- 
motion by  refusing  to  drink  the  health  of  the  Em- 
peror. The  soldiers  are  about  to  rush  upon  him, 
when  Devilshoof  interferes.  The  gypsy  is  arrested 
for  his  temerity,  and  taken  into  the  castle.  Thad- 
deus departs  and  the  festivities  are  resumed,  but 
are  speedily  interrupted  again  by  the  escape  of 
Devilshoof,  who  takes  Arline  with  him.  The  finale 
of  the  act  is  very  stirring,  and  contains  one  number, 
a  prayer  ("Thou  who  in  Might  supreme  "),  which 
is  extremely  effective. 

Twelve  years  elapse  between  the  first  and  sec- 
ond acts,  and  during  this  time  Count  Arnheim  has 


THE  BOHEMIAN  GIRL.  29 

received  no  tidings  of  Arline,  and  has  given  her  up 
as  lost  forever.  The  act  opens  in  the  gypsy  camp  in 
the  suburbs  of  Presburg.  Arline  is  seen  asleep  in 
the  tent  of  the  Queen,  with  Thaddeus  watching  her. 
After  a  quaint  little  chorus  ("  Silence,  silence,  the 
Lady  Moon  ")  sung  by  the  gypsies,  they  depart  in 
quest  of  plunder,  headed  by  Devilshoof,  and  soon 
find  their  victim  in  the  person  of  the  foppish  and 
half-drunken  Florestein,  who  is  returning  from  a 
revel  He  is  speedily  relieved  of  his  jewelry,  among 
which  is  a  medallion,  which  is  carried  off  by  Devils- 
hoof.  As  the  gypsies  disappear,  Arline  wakes  and 
relates  her  dream  to  Thaddeus  in  a  joyous  song 
("  I  dreamed  I  dwelt  in  Marble  Halls  "),  which  has 
become  one  of  the  world's  favorites.  At  the  close 
of  the  ballad  Thaddeus  tells  her  the  meaning  of 
the  scar  upon  her  arm,  and  reveals  himself  as  her 
rescuer,  but  does  not  disclose  to  her  the  mystery  of 
her  birth.  The  musical  dialogue,  with  its  ensemble, 
"  The  Secret  of  her  Birth,"  will  never  lose  its  charm. 
Thaddeus  declares  his  love  for  her  just  as  the 
Queen,  who  is  also  in  love  with  Thaddeus,  enters. 
Arline  also  confesses  her  love  for  Thaddeus,  and, 
according  to  the  customs  of  the  tribe,  the  Queen 
unites  them,  at  the  same  time  vowing  vengeance 
against  the  pair. 

The  scene  now  changes  to  a  street  in  the  city. 
A  great  fair  is  in  progress,  and  the  gypsies,  as  usual, 
resort  to  it.  Arline  enters  at  their  head,  joyously 
singing,  to  the  accompaniment  of  the  rattling  cas- 
tanets, "  Come  with  the  Gypsy  Bride  ; "  her  compan 


30  THE    STANDARD    OPERAS. 

ions,  blithely  tripping  along,  responding  with  the 
chorus,  •'  In  the  Gypsy's  Life  you  may  read."  They 
disappear  down  tne  street  and  reappear  in  the 
public  plaza.  Arline,  the  Queen,  Devilshoof,  and 
Thaddeus  sing  an  unaccompanied  quartet  ("  From 
the  Valleys  and  Hills  "),  a  number  which  for  grace 
and  flowing  harmony  deserves  a  place  in  any  opera. 
As  they  mingle  among  the  people  an  altercation 
occurs  between  Arline  and  Flore&tein,  who  has 
attempted  to  insult  her.  The  Queen  recognizes 
Florestein  as  the  owner  of  the  medallion,  and  for  her 
courage  in  resenting  the  insult  maliciously  presents 
Arline  with  it.  Shortly  afterwards  he  observes  the 
medallion  on  Arline 's  neck,  and  has  her  arrested 
for  theft.  The  next  scene  opens  in  the  hall  of  jus- 
tice. Count  Arnheim  enters  with  a  sad  counte- 
nance, and  as  he  observes  Arline 's  portrait,  gives 
vent  to  his  sorrow  in  that  well-known  melancholy 
reverie,  "  The  Heart  bowed  down,"  which  has  be- 
come famous  the  world  over.  Arline  is  brought 
before  him  for  trial.  As  it  progresses  he  observes 
the  scar  upon  her  arm  and  asks  its  cause.  She 
tells  the  story  which  Thaddeus  had  told  her,  and 
this  solves  the  mystery.  The  Count  recognizes 
his  daughter,  and  the  act  closes  with  a  beautiful 
ensemble  ("  Praised  be  the  Will  of  Heaven "). 

The  last  act  opens  in  the  salon  of  Count  Arn- 
heim. Arline  is  restored  to  her  old  position,  but 
her  love  for  Thaddeus  remains.  He  finds  an  op- 
portunity to  have  a  meeting  with  her,  through  the 
cunning  of  Devilshoof,  who  accompanies  him.  He 


THE  BOHEMIAN  GIRL.  ^ 

once  more  tells  his  love  in  that  tender  and  impas- 
sioned song,  "  When  other  Lips  and  other  Hearts," 
and  she  promises  to  be  faithful  to  him.  As  the 
sound  of  approaching  steps  is  heard,  Thaddeus  and 
his  companion  conceal  themselves.  A  large  com- 
pany enter,  and  Arline  is  presented  to  them.  Dur- 
ing the  ceremony  a  closely  veiled  woman  appears, 
and  when  questioned  discovers  herself  as  the  Gypsy 
Queen.  She  reveals  the  hiding-place  of  her  com- 
panions, and  Thaddeus  is  dragged  forth  and  or- 
dered to  leave  the  house.  Arline  declares  her  love 
for  him,  and  her  intention  to  go  with  him.  She 
implores  her  father  to  relent.  Thaddeus  avows 
his  noble  descent,  and  boasts  his  ancestry  and 
deeds  in  '  battle  in  that  stirring  martial  song, 
"When  the  Fair  Land  of  Poland."  The  Count 
finally  yields  and  gives  his  daughter  to  Thaddeus. 
The  Queen,  rilled  with  rage  and  despair,  induces 
one  of  the  tribe  to  fire  at  him  as  he  is  embrac- 
ing Arline ;  but  by  a  timely  movement  of  Devils- 
hoof  the  bullet  intended  for  Thaddeus  pierces  the 
breast  of  the  Queen.  As  the  curtain  falls,  the 
old  song  of  the  gypsies  is  heard  again  as  they 
disappear  in  the  distance  with  Devilshoof  at  their 
head. 

Many  of  the  operas  of  Balfe,  like  other  ballad 
operas,  have  become  unfashionable ;  but  it  is 
doubtful  whether  "  The  Bohemian  Girl "  will  ever 
lose  its  attraction  for  those  who  delight  in  song- 
melody,  charming  orchestration,  and  sparkling,  ani- 
mated choruses.  It  leaped  into  popularity  at  a 


52  THE    STANDARD    OPERAS. 

bound,   and  its  pretty   melodies  are  still  as   fresh 
as  when  they  were  first  sung. 

of  Castile. 

"  The  Rose  of  Castile,"  comic  opera  in  three 
acts,  words  by  Harris  and  Falconer,  adapted  from 
Adolphe  Adam's  "  Muletier  de  Tolede,"  was  first 
produced  at  the  Lyceum  Theatre,  London,  Oct.  29, 
1 85  7,  with  the  following  cast :  — 

ELVIRA Miss  LOUISA  PYNE. 

MANUEL W.  H.  HARRISON. 

CARMEN Miss  SUSAN  PYNE. 

DON  PEDRO Mr.  WEISS. 

DON  SALLUST Mr.  ST.  ALBYN. 

DON  FLORIO Mr.  HONEY. 

The  scene  of  the  opera  is  laid  in  Spain.  Elvira, 
the  Rose  of  Castile,  Queen  of  Leon,  has  just  as- 
cended the  throne,  and  her  hand  has  been  de- 
manded by  the  King  of  Castile  for  his  brother, 
Don  Sebastian  the  Infant.  Having  learned  that 
the  latter  is  about  to  enter  her  dominions  disguised 
as  a  muleteer,  the  better  to  satisfy  his  curiosity 
about  her,  she  adopts  the  same  expedient,  and 
sets  out  to  intercept  him/  disguised  as  a  peasant 
girl,  taking  with  her  one  of  her  attendants. 

The  first  act  opens  upon  a  rural  scene  in  front  of 
a  posada,  where  the  peasants  are  dancing  and  sing- 
ing a  lively  chorus  ("  List  to  the  gay  Castanet  "). 
Elvira  and  Carmen,  her  attendant,  enter  upon  the 
scene,  and  are  asked  to  join  in  the  dance,  but 


THE  ROSE   OF  CASTILE. 


33 


instead,  Elvira  delights  them  with  a  song,  a  vocal 
scherzo  ("Yes,  I'll  obey  you").  The  innkeeper 
is  rude  to  them,  but  they  are  protected  from  his 
coarseness  by  Manuel,  the  muleteer,  who  suddenly 
appears  and  sings  a  rollicking  song  ("  I  am  a  simple 
Muleteer  ")  to  the  accompaniment  of  a  tambourine 
and  the  snappings  of  his  whip.  A  dialogue  duet 
follows,  in  which  she  accepts  his  protection  and 
escort.  She  has  already  recognized  the  Infant,  and 
he  has  fulfilled  the  motive  of  the  story  by  falling  in 
love  with  her.  At  this  point  the  three  conspirators, 
Don  Pedro,  Don  Sallust,  and  Don  Florio,  enter, 
the  first  of  whom  has  designs  on  the  throne.  They 
indulge  in  a  buffo  trio,  which  develops  into  a  spir- 
ited bacchanal  ("  Wine,  Wine,  the  Magician  thou 
art !  ").  Observing  Elvira's  likeness  to  the  Queen, 
they  persuade  her  to  personate  her  Majesty.  She 
consents  with  feigned  reluctance,  and  after  accept- 
ing their  escort  in  place  of  Manuel's,  being  sure 
that  he  will  follow,  she  sings  a  quaint  rondo 
("  Oh,  were  I  the  Queen  of  Spain  !  "),  and  the  act 
closes  with  a  concerted  number  accompanying  their 
departure. 

The  second  act  opens  in  the  throne-room  of  the 
palace,  and  is  introduced  by  a  very  expressive  con- 
spirators' chorus  ("  The  Queen  in  the  Palace  ")  ; 
after  which  Don  Pedro  enters  and  gives  expres- 
sion to  the  uncertainty  of  his  schemes  in  a  ballad 
("  Though  Fortune  darkly  o'er  me  frowns  ")  which 
reminds  one  very  forcibly  of  "The  Heart  bowed 
down,"  in  "The  Bohemian  Girl."  The  Queen, 
3 


34 


THE    STANDARD    OPERAS. 


who  has  eluded  the  surveillance  of  the  conspirators, 
makes  her  appearance,  surrounded  by  her  attend- 
ants, and  sings  that  exquisite  ballad,  "  The  Convent 
Cell"  ("Of  Girlhood's  happy  Days  I  dream"), 
one  of  the  most  beautiful  songs  ever  written  by  any 
composer,  and  certainly  Balfe's  most  popular  inspi- 
ration. At  the  close  of  the  ballad  Manuel  appears, 
and  is  granted  an  audience,  in  which  he  informs 
her  of  the  meeting  with  the  peasant  girl  and  boy, 
and  declares  his  belief  that  they  were  the  Queen 
and  Carmen.  She  ridicules  the  statement,  and  a 
very  funny  trio  buffo  ensues  ("  I  'm  not  the  Queen, 
ha,  ha  ! ").  He  then  informs  her  of  the  conspira- 
tors' plot  to  imprison  her,  but  she  thwarts  it  by  in- 
ducing a  silly  and  pompous  old  Duchess  to  assume 
the  role  of  Queen  for  the  day,  and  ride  to  the 
palace  closely  veiled  in  the  royal  carriage.  The 
plot  succeeds,  and  the  Duchess  is  seized  and  con- 
veyed to  a  convent.  In  the  next  scene  there  is 
another  spirited  buffo  number,  in  which  Don  Pedro 
and  Don  Florio  are  mourning  over  the  loss  of  their 
peasant  girl,  when,  greatly  to  their  relief,  she  enters 
again,  singing  a  very  quaint  and  characteristic  scena 
("  I  'm  but  a  simple  Peasant  Maid  "),  which  rouses 
the  suspicions  of  the  conspirators.  They  are  all 
the  more  perplexed  when  the  Queen  announces 
herself,  and  declares  her  intention  of  marrying  the 
muleteer. 

The  last  act  opens  with  a  song  by  Carmen 
("Though  Love  's  the  greatest  Plague  in  Life  "). 
which  falls  far  below  the  excellence  of  the  other 


THE  ROSE   OF  CASTILE. 


35 


songs  in  the  work.  It  is  followed  by  a  buffo  duet 
between  Carmen  and  Florio,  who  agree  to  marry. 
The  Queen  and  ladies  enter,  and  the  former  sings 
a  bravura  air  ("  Oh,  joyous,  happy  Day  !  "),  which 
was  intended  by  the  composer  to  show  Miss  Pyne's 
vocal  ability.  At  this  point  a  message  is  brought 
her  from  Don  Sebastian,  announcing  his  marriage. 
Enraged  at  the  discovery  that  the  muleteer  is  not 
Don  Sebastian,  she  severely  upbraids  him,  and  he 
replies  in  another  exquisite  ballad  ("  'T  was  Rank 
and  Fame  that  tempted  thee  ").  At  its  close  she 
once  more  declares  she  will  be  true  to  the  mule- 
teer. Don  Pedro  is  delighted  at  the  apparent  suc- 
cess of  his  scheme,  as  he  believes  he  can  force  her 
to  abdicate  if  she  marries  a  muleteer,  and  gives 
vent  to  his  joy  in  a  martial  song  ("  Hark  !  hark  ! 
methinks  I  hear  ").  The  last  scene  is  in  the 
throne-room,  where  Manuel  announces  he  is  king 
of  Castile,  and  mounts  the  throne  singing  a  stirring 
song  closely  resembling,  in  its  style,  the  "  Fair  Land 
of  Poland,"  in  "  The  Bohemian  Girl."  Elvira  ex- 
presses her  delight  in  a  bravura  air  ("  Oh,  no  !  by 
Fortune  blessed  "),  and  the  curtain  falls.  The  story 
of  the  opera  is  very  complicated,  and  sometimes 
tiresome ;  but  the  music  is  well  sustained  through- 
out, especially  the  buffo  numbers,  while  some  of 
the  ballads  are  among  the  best  ever  written  by  an 
English  composer. 


BEETHOVEN. 

JJUDWIG  VON  BEETHOVEN,  the  greatest 
of  composers,  was  born  Dec.  17,  1770,  at 
Bonn,  Germany,  his  father  being  a  court 
singer  in  the  chapel  of  the  Elector  of 
Cologne.  He  studied  in  Vienna  with  Haydn,  with 
whom  he  did  not  always  agree,  however,  and  after- 
wards with  Albrechtsberger.  His  first  symphony 
appeared  in  1801,  his  earlier  symphonies,  in  what 
is  called  his  first  period,  being  written  in  the 
Mozart  style.  His  only  opera,  "  Fidelio,"  for 
which  he  wrote  four  overtures,  was  first  brought 
out  in  Vienna  in  1 805  ;  his  oratorio,  "  Christ  on 
the  Mount  of  Olives,"  in  1812;  and  his  colossal 
Ninth  Symphony,  with  its  choral  setting  of  Schil- 
ler's "Ode  to  Joy,"  in  1824.  In  addition  to  his 
symphonies,  his  opera,  oratorios,  and  masses,  and 
the  immortal  group  of  sonatas  for  the  piano, 
which  were  almost  revelations  in  music,  he  de- 
veloped chamber  music  to  an  extent  far  beyond 


FIDELIO.  37 

that  reached  by  his  predecessors,  Haydn  and 
Mozart.  His  symphonies  exhibit  surprising  power, 
and  a  marvellous  comprehension  of  the  deeper  feel- 
ings in  life  and  the  influences  of  nature,  both  hu- 
man and  physical.  He  wrote  with  the  deepest 
earnestness,  alike  in  the  passion  and  the  calm  of 
his  music,  and  he  invested  it  also  with  a  genial  humor 
as  well  as  with  the  highest  expression  of  pathos. 
His  works  are  epic  in  character.  He  was  the  great 
tone-poet  of  music.  His  subjects  were  always  lofty 
and  dignified,  and  to  their  treatment  he  brought 
not  only  a  profound  knowledge  of  musical  techni- 
cality, but  intense  sympathy  with  the  innermost 
feelings  of  human  nature,  for  he  was  a  humanitarian 
in  the  broadest  sense.  By  the  common  consent  of 
the  musical  world  he  stands  at  the  head  of  all  com- 
posers, and  has  always  been  their  guide  and  inspi- 
ration. He  died  March  26,  1827,  in  the  midst 
of  a  raging  thunder  storm,  one  of  his  latest  utter- 
ances being  a  recognition  of  the  "  divine  spark  " 
in  Schubert's  music. 

/ibelio. 

"Fidelio,  oder  die  eheliche  Liebe"  ("Fidelio, 
or  Conjugal  Love"),  grand  opera  in  two  acts, 
words  by  Sonnleithner,  translated  freely  from 
Bouilly's  "  Le'onore,  ou  1'Amour  Conjugal,"  was 
first  produced  at  the  Theatre  An  der  Wien,  Vienna, 
Nov.  20,  1805,  the  work  at  that  time  being  in  three 
acts.  A  translation  of  the  original  programme  of 


38  THE    STANDARD    OPERAS. 

that  performance,  with  the  exception  of  the  usual 
price  of  admissions,  is  appended  :  — 

Imperial  and  Royal  Theatre  An  der  Wien. 

New  Opera. 

To-day,  Wednesday,  20  November,   1805,  at  the  Imperial  and   Royal 
Theatre  An  der  Wien,  will  be  given  for  the  first  time. 

FIDELIO; 

Or,  Conjugal  Love. 

Opera  hi  three  acts,  translated  freely  from  the  French  text  by 

JOSEPH     SONNLEITHNER. 

The  music  is  by  LUDWIG  VON  BEETHOVEN. 
Dramatis  Persona. 

Don  Fernando,  Minister Herr  Weinkoff. 

Don  Pizarro,  Governor  of  a  State  Prison     ....     Herr  Meier. 

Florestan,  prisoner Herr  Demmer. 

Leonora,  his  wife,  under  the  name  of  Fidelia    .    .    .     Frauiein  Milder. 

Rocco,  chief  jailer Herr  Rothe. 

Marcelltna,  his  daughter Fraulein  Mttller. 

laguiny,  turnkey Herr  Cache. 

Captain  of  the  Guard Herr  Meister. 

Prisoners,  Giiards,  People. 

The  action  passes  in  a  State  prison  in  Spain,  a  few  leagues  from  Seville. 
The  piece  can  be  procured  at  the  box-office  for  fifteen  kreutzers. 

During  this  first  season  the  opera  was  performed 
three  times  and  then  withdrawn.  Breuning  reduced 
it  to  two  acts,  and  two  or  three  of  the  musical  num- 
bers were  sacrificed,  and  in  this  form  it  was  played 
twice  at  the  Imperial  Private  Theatre  and  again 
withdrawn.  On  these  occasions  it  had  been  given 
under  Beethoven's  favorite  title,  "  Leonore."  In 
1814  Treitschke  revised  it,  and  it  was  produced 
at  the  Karnthnerthor  Theatre,  Vienna,  May  23,  of 
that  year,  as  "  Fidelio,"  which  title  it  has  ever  since 
retained.  Its  first  performance  in  Paris  was  at  the 
Theatre  Lyrique,  May  5,  1860;  in  London,  at  the 
King's  Theatre,  May  18,  1832;  and  in  English  at 
Covent  Garden,  June  12,  1835,  with  Malibran  in 


FIDELIO. 


39 


the  title-role.  Beethoven  wrote  four  overtures 
for  this  great  work.  The  first  was  composed  in 
1805,  the  second  in  1806,  the  third  in  1807,  and 
the  fourth  in  1814.  It  is  curious  that  there  has 
always  been  a  confusion  in  their  numbering,  and 
the  error  remains  to  this  day.  What  is  called  No.  i 
is  in  reality  No.  3,  and  was  composed  for  a  per- 
formance of  the  opera  at  Prague,  the  previous  over- 
ture having  been  too  difficult  for  the  strings.  The 
splendid  "  Leonora,"  No.  3,  is  in  reality  No.  2,  and 
the  No.  2  is  No.  i.  The  fourth,  or  the  "Fidelio" 
overture,  contains  a  new  set  of  themes,  but  the 
"Leonora"  is  the  grandest  of  them  all. 

The  entire  action  of  the  opera  transpires  in  a 
Spanish  prison,  of  which  Don  Pizarro  is  governor 
and  Rocco  the  jailer.  The  porter  of  the  prison  is 
Jacquino,  who  is  in  love  with  Marcellina,  daughter 
of  Rocco,  and  she  in  turn  is  in  love  with  Fidelio, 
Rocco's  assistant,  who  has  assumed  male  disguise 
the  better  to  assist  her  in  her  plans  for  the  rescue 
of  her  husband,  Florestan,  a  Spanish  nobleman. 
The  latter,  who  is  the  victim  of  Don  Pizarro's 
hatred  because  he  had  thwarted  some  of  his  evil 
designs,  has  been  imprisoned  by  him  unknown  to 
the  world,  and  is  slowly  starving  to  death.  Leonora, 
his  wife,  who  in  some  way  has  discovered  that  her 
husband  is  in  the  prison,  has  obtained  employment 
of  Rocco,  disguised  as  the  young  man  Fidelio. 

The  opera  opens  with  a  charming,  playful  love- 
scene  between  Jacquino  and  Marcellina,  whom  the 
former  is  teasing  to  marry  him.  She  puts  him  off, 


4o  THE    STANDARD    OPERAS. 

and  as  he  sorrowfully  departs,  sings  the  Hope  aria, 
"  Die  Hoffnung,"  a  fresh,  smoothly  flowing  melody, 
in  which  she  pictures  the  delight  of  a  life  with 
Fidelio.  At  its  close  Rocco  enters  with  the  de- 
spondent Jacquino,  shortly  followed  by  Fidelio,  who 
is  very  much  fatigued.  The  love-episode  is  brought 
out  in  the  famous  canon  quartet,  "  Mir  ist  so  wun- 
derbar,"  one  of  the  most  beautiful  and  restful  num- 
bers in  the  opera.  Rocco  promises  Marcellina's 
hand  to  Fidelio  as  the  reward  of  her  fidelity,  but  in 
the  characteristic  and  sonorous  Gold  song,  "  Hat 
man  nicht  auch  Geld  daneben,"  reminds  them  that 
money  as  well  as  love  is  necessary  to  housekeep- 
ing. In  the  next  scene,  while  Don  Pizarro  is  giving 
instructions  to  Rocco,  a  packet  of  letters  is  deliv- 
ered to  him,  one  of  which  informs  him  that  Don 
Fernando  is  coming  the  next  day  to  inspect  the 
prison,  as  he  has  been  informed  that  it  contains 
several  victims  of  arbitrary  power.  He  at  once 
determines  that  Florestan  shall  die,  and  gives  vent 
to  his  wrath  in  a  furious  dramatic  aria  ("Ha  !  welch 
ein  Augenblick !").  He  attempts  to  bribe  Rocco 
to  aid  him.  The  jailer  at  first  refuses,  but  subse- 
quently, after  a  stormy  duet,  consents  to  dig  the 
grave.  Fidelio  has  overheard  the  scheme,  and,  as 
they  disappear,  rushes  forward  and  sings  the  great 
aria,  "  Abscheulicher  !  "  one  of  the  grandest  and 
most  impassioned  illustrations  of  dramatic  intensity 
in  the  whole  realm  of  music.  The  recitative  ex- 
presses intense  horror  at  the  intended  murder,  then 
subsides  into  piteous  sorrow,  and  at  last  breaks  out 


FIDELIO.  4I 

into  the  glorious  adagio,  "  Komm  Hoffnung."  in 
which  she  sings  of  the  immortal  power  of  love. 
The  last  scene  of  the  act  introduces  the  strong 
chorus  of  the  prisoners  as  they  come  out  in  the 
yard  for  air  and  sunlight,  after  which  Rocco  relates 
to  Fidelio  his  interview  with  Don  Pizarro.  The 
latter  orders  the  jailer  to  return  the  prisoners  to 
their  dungeons  and  go  on  with  the  digging  of  the 
grave,  and  the  act  closes. 

The  second  act  opens  in  Florestan's  dungeon. 
The  prisoner  sings  an  intensely  mournful  aria  ("  In 
des  Lebens  Friihlingstagen),"  which  has  a  rapturous 
finale  ("Und  spur'  Ich  nicht  linde"),  as  he  sees 
his  wife  in  a  vision.  Rocco  and  Fidelio  enter 
and  begin  digging  the  grave,  to  the  accompani- 
ment of  sepulchral  music.  She  discovers  that  Flo- 
restan has  sunk  back  exhausted,  and  as  she  restores 
him  recognizes  her  husband.  Don  Pizarro  enters, 
and  after  ordering  Fidelio  away,  who  meanwhile 
conceals  herself,  attempts  to  stab  Florestan.  Fide- 
lio, who  has  been  closely  watching  him,  springs  for- 
ward with  a  shriek,  and  interposes  herself  between 
him  and  her  husband.  He  once  more  advances 
to  carry  out  his  purpose,  when  Fidelio  draws  a 
pistol  and  defies  him.  As  she  does  so,  the  sound 
of  a  trumpet  is  heard  outside  announcing  the  ar- 
rival of  Don  Fernando.  Don  Pizarro  rushes  out 
in  despair,  and  Florestan  and  Leonora,  no  longer 
Fidelio,  join  in  a  duet  ("  O  Namenlose  Freude  ") 
which  is  the  very  ecstasy  of  happiness.  In  the  last 
scene  Don  Fernando  sets  the  prisoners  free  in 


42  THE    STANDARD    OPERAS. 

the  name  of  the  king,  and  among  them  Florestan. 
Pizarro  is  revealed  in  his  true  character,  and  is  led 
away  to  punishment.  The  happy  pair  are  reunited, 
and  Marcellina,  to  Jacquino's  delight,  consents  to 
marry  him.  The  act  closes  with  a  general  song  of 
jubilee.  As  a  drama  and  as  an  opera  "  Fidelio " 
stands  almost  alone  in  its  perfect  purity,  in  the 
moral  grandeur  of  its  subject,  and  in  the  resplen- 
dent ideality  of  its  music. 


BELLINI. 


HNCENZO  BELLINI  was  born  Nov.  3, 
1802,  at  Catania,  Sicily,  and  came  of 
musical  parentage.  By  the  generosity 
of  a  patron  he  was  sent  to  Naples,  and 
studied  at  the  Conservatory  under  Zingarelli.  His 
first  opera  was  "Adelson  e  Salvino,"  and  its  re- 
markable merit  secured  him  a  commission  from 
the  manager,  Barbaja,  for  an  opera  for  San  Carlo. 
The  result  was  his  first  important  workT  "  Bianca  e 
Fernando,"  written  in  1826.  Its  success  was  mod- 
erate ;  but  he  was  so  encouraged  that  he  at  once 
went  to  Milan  and  wrote  "  II  Pirata,"  the  tenor 
part,Jor_Rubini.  Its  success  was  Extraordinary, 
and  the  managers  of  La  Scala  commissioned  him  for 
another  work.  In  1828  "  La  Straniera"  appeared, 
quickly  followed  by  "  ZairaT1'  (i829);~which  failed 
at  Parma,  and  "  I  CapulettT~ed  i  Montecchi,"  a 
version  o£_^J&Qrnpr>  anfj_JnTjpt^>  which  made  a  great 
success  at  Venice  in  1830.  A  year  later  he  com- 
posed "  Lta__Sojmambula,"  unquestionably  his  best 
work,  for  La  Scala,  and  it  speedily  made  the  tour 
of  Europe,  and  gained  for  him  an  extended  reputa- 


44  THE    STANDARD    OPERAS. 

tion.  A  year  after  its  appearance  he  astonished  the 
musical  world  with  "  Norma,"  written,  like  "  Son- 
nambula,"  for  Mme.  Pasta.  These  are  his  greatest 
works.  "  Norma  "  was  followed  by  "  Beatrice  di 
Tenda,"  and  this  by  "  I  Puritani,"  his  last  opera, 
written  in  Paris  for  the  four  great  artists,  Grisi, 
Rubini,  Tamburini,  and  Lablache.  Bellini  died 
Sept.  23,  1835,  in  the  twenty-ninth  year  of  his  age, 
preserving  his  musical  enthusiasm  to  the  very  last. 
He  was  a  close  follower  of  Rossini,  and  studied  his 
music  diligently,  and  though  without  a  very  pro- 
found knowledge  of  harmony  or  orchestration,  suc- 
ceeded in  producing  at  least  three  works,  "  Norma," 
" Sonnambula,"  and  "I  Puritani,"  which  were  the 
delight  of  the  opera-goers  of  his  day,  and  still 
freshly  hold  the  stage. 

fiotma.. 

"  Norma,"  a  serious  opera  in  two  acts,  words  by 
Romani,  was  first  produced  during  the  season  of 
Lent,  1832,  at  Milan,  with  the  principal  parts  cast 
as  follows :  — 

NORMA  Mme.  PASTA.. 

ADALGISA Mme.  GRISI. 

POLLIONE Sig.    DONZELLI. 

It  was  first  heard  in  London  in  1833,  and  in  Paris 
in  1855,  and  Planche"'s  English  version  of  it  was 
produced  at  Drury  Lane  in  1837.  The  scene  of 
the  opera  is  laid  among  the  Druids,  in  Gaul,  after 


NORMA. 


45 


its  occupation  by  the  Roman  legions.     In  the  first  /  •    & 
scene  the  Druids  enter  with  Oroveso,  their  priest, 
I  •  to  the  impressive  strains  oj^religious  march  which  \ 
is  almost  as  familiar  as  a  household  word.     They 
priest  announces  that  Norma,  the  high   priestess, 
will  come  and  cut  the  sacred  branch  and  give  the 
signal  for  the  expulsion  of  the  Romans.     The  next  \    0  0 
scene   introduces  PolHone,  Ihe  Roman  proconsul,  \ 
to  whom  Norma,  in  defiance  of  her  faith  and  tradi- 
tions, has  bound  herself  in  secret  marriage,  and  by 
whom  she  has  had  two  children.     In  a  charminglv^v  £-<** 

-2  •  melodious  scena  ("  Meco  all'  altar  di  Venere  ")  he     1  ''77* 
reveals  his  faithlessness  and  guilty  love  for  Adalgisa,     I 
a  young  virgin  of  the  temple,  who  has  consented  to  / 
abandon  her  religion  and  fly  with  him  to  Rome. 
>  In  the  fourth  scene  Norma  enters  attended  by  her 
priestesses,  and  denounces  the  Druids  for  their  war- 
like disposition,  declaring"tharEne  time  has  not  yet 
come  for  shaking  off  the  yoke  of  Rome,  and  that 
when  it  does  she  will  give  the  signal  from  the  altar 
of  the  Druids.     After  cutting  the  sacred  mistletoe, 
she  comes  forward  and   invokes  peace   from  the 

3.  moon  in  that  exquisite  prayer,  "  Casta  Diva," 
which  electrified  the  world  with  its  beauty  and 
tenderness,  and  still  holds  its  place  in  popular  favor, 
not  alone  by  the  grace  of  its  embellishments,  but  by 
the  paJiiQ_s_ofks  melody.  It  is  followed  by  another 
cavatina  of  almost  equal  beauty  and  tenderness 

—  ("  Ah  Lbello^a^nie^ritprna'').     In  the  next  scene     4 
Adalgisa,  retiring  from  the  sacred  rites,  sings  of  her 
love  for  Pollione,  and  as  she  closes  is  met  by  the      { 


46 


THE    STANDARD    OPERAS. 


proconsul,  who  once  more  urges  her  to  fly  to  Rome 
with  him.    The  duet  between  them  is  one  of  great 
power  and  beauty,  and  contains  a  strikingly  pas- 
/    rf    sionate   number    for   the   tenor    ("  Va.   crudele ""). 
Oppressed  by  her  conscience,  she  reveals  her  fatal 
promise  to  Norma,  and  implores  absolution  from 
her  vows".""  Norrrik    yields   to   her   entreaties,   but 
/when   she  inquires  the  name  and  country  of  her 
/  lover,  and  Adalgisa  points  to  Pollione  as  he  enters 
Norma's  sanctuary,  all  the  priestess's  love  turns  to 
x^wrath.      In   this   scene   the   duet,   "  Perdoni   e   ti 
(\       compiango,"    is   one   of  exceeding  loveliness  and 
peculiarly  melodious   tenderness.     The   act   closes 
with  a  terzetto  of  great  power  ("  O  !  di  qual  sei  tu  "), 
in  which  both  the  priestess  and  Adalgisa  furiously 
denounce  the  faithless  Pollione.     In  the  midst  of 
their  imprecations  the  sound  of  the  sacred— shield 
is  heard  calling  Norma  to  the  rites. 

The  second  act  opens  in  Norma's  dwelling,  and 
v^v        discovers  her  children  asleep  on  a  couch.     Norma 
enters  with  the  purpose  of  killing  them,  but  the 
maternal   instinct  overcomes  her  vengeful  thought 
that  they  are  Pollione's  children.     Adalgisa  appears, 
and  Norma  announces  her  intention  to  place  her 
children  in  the  Virgin's  hands,  and  send  her  and 
Xhem  to  Pollione  while  she  expiates  her  offence  on 
/  the  funeral  pyre.     Adalgisa  pleads  with  her  not  to 
abandon  Pollione,  who  will  return  to  her  repentant ; 
and  the  most  effective  number  in  the  opera  ensues, 
-the  grand  duet  containing  two  of  Bellini's  most 
beautiful  inspirations,  the  "  Deh  !  con  te  li  prendi," 


NORMA.     ^,7  47 

\ 

and  the  familiar  "  Mira,  O  Norma,"  whose  strains 
have  gone  round  the  world  and  awakened  universal 
delight.     Pollione,   maddened   by  his   passion   for 
Adalgisa,  impiously  attempts  to  tear  her  from  the 
altar  in  the  temple  of  Irminsul,  whereupon  Norma 
enters   the   temple   and   strikes  the  sacred  shield, 
summoning  the  Druids.    They  meet,  and  she  de- 
clares the  meaning  of  the  signal  is  war,  slaughter,^ 
and  destruction.     She  chants  a  magnificent  hymn 
("Qflgrra,  gugrra-"),  which  is  full  of  the  very  fury 
of  battle.     Pollione,  who  has   been  intercepted  in    *  c^ 0 
the  temple,  is  brought  before  her.     Love  is  still 
stronger  than   resentment  with   her.      In   a  very 
dramatic  scena  ("  In  mia  mano  alfintu  sei ")  she 
informs  him  he  is  in  her  power,  but  she  will  let  him  .       ,/ 
escape  if  he  will  renounce  Adalgisa  and  leave  the  \  ^ 
country.     He  declares  death  would  be  preferable; 
whereupon   she    threatens   to   denounce   Adalgisa. 
Pity  overcomes  anger,  however.     She  snatches  the          <ty 
sacred  wreath  from  her  brow  and  declares  herself    ' 
the  guilty  one.     Too   late   Pollione   discovers   the 
worth  of  the   woman   he   has   abandoned,  and  a     \   .  ^ 
beautiful  duet  ("Qual  cor  tradisti")  forms  the  clos- 
ing number.     She  ascends  the   funeral   pyre  with 
Pollione,   and   in   its    flames    they  are   purged, 
earthly  crime.     It  is  a  memorable-fact  Iff  the  his- 
tory of  this  opera,  that  on  its  first  performance  it 
was  coldly  received,  and  the  Italian  critics  declared 
it  had  no  vitality ;  though  no  opera  was  ever  written 

in  Which  si*4>-4atpn«^   rlramatjr  effort  fyis  been  prO- 

duced  with  simple  melodic  force,  and  no  Italian 


48  THE   STANDARD     OPERAS. 

opera  score  to-day  is  more  living  or  more  likely  to 
last  than  that  of  Norma. 


"  La  Sonnambula,"  an  opera  in  two  acts,  words 
by  Romani,  was  first  produced  in  Milan,  March  6, 
1831,  with  the  following  cast  :  — 

AMINA    ............  Mme.  PASTA. 

ELVINO  ............  Sig.  RUBINI. 

RODOLFO     ...........  Sig.  MARIANO. 

LISA        ............  Mme.  TOCCANI. 

It  was  brought  out  in  the  same  year  in  Paris  and 
London,  and  two  years  after  in  English,  with  Mali- 
bran  as  Amina.  The  subject  of  the  story  was  taken 
from  a  vaudeville  and  ballet  by  Scribe.  The  scene 
is  laid  in  Switzerland.  Amina,  an  orphan,  the  ward 
of  Teresa,  the  miller's  wife,  is  about  to  marry  Elvino, 
a  well-to-do  landholder  of  the  village.  Lisa,  mis- 
tress of  the  inn,  is  also  in  love  with  Elvino,  and 
jealous  of  her  rival.  Alessio,  a  peasant  lad,  is  also 
in  love  with  the  landlady.  Such  is  the  state  of 
affairs  on  the  day  before  the  wedding.  Rodolfo, 
the  young  lord  of  the  village,  next  appears  upon  the 
scene.  He  has  arrived  incognito  for  the  purpose 
of  looking  up  his  estates,  and  stops  at  Lisa's  inn, 
where  he  meets  Amina.  He  gives  her  many  pretty 
compliments,  much  to  the  dissatisfaction  of  the 
half-jealous  Elvino,  who  is  inclined  to  quarrel  with 
the  disturber  of  his  peace  of  mind.  Amina,  who  is 
subject  to  fits  of  somnambulism,  has  been  mistaken 
for  a  ghost  by  the  peasants,  and  they  warn  Rodolfo 


LA    SONNAMBULA.  49 

that  the  village  is  haunted.  The  information,  how- 
ever, does  not  disturb  him,  and  he  quietly  retires 
to  his  chamber.  The  officious  Lisa  also  enters,  and 
a  playful  scene  of  flirtation  ensues,  during  which 
Amina  enters  the  room,  walking  in  her  sleep.  Lisa 
seeks  shelter  in  a  closet.  Rodolfo,  to  escape  from 
the  embarrassment  of  the  situation,  leaves  the  apart- 
ment, and  Amina  reclines  upon  the  bed  as  if  it  were 
her  own.  The  malicious  Lisa  hurries  from  the  room 
to  inform  Elvino  of  what  she  has  seen,  and  thought- 
lessly leaves  her  handkerchief.  Elvino  rushes  to  the 
spot  with  other  villagers,  and  finding  Amina,  as  Lisa 
had  described,  declares  that  she  is  guilty,  and  leaves 
her.  Awakened  by  the  noise,  the  unfortunate  girl, 
realizing  the  situation,  sorrowfully  throws  herself 
into  Teresa's  arms.  The  villagers  implore  Rodolfo 
to  acquit  Amina  of  any  blame,  and  he  stoutly  pro- 
tests her  innocence  ;  but  it  is  of  no  avail  in  satisfy- 
ing Elvino,  who  straightway  offers  his  hand  to  Lisa. 
In  the  last  act  Amina  is  seen  stepping  from  the 
window  of  the  mill  in  her  sleep.  She  crosses  a 
frail  bridge  which  yields  beneath  her  weight  and 
threatens  to  precipitate  her  upon  the  wheel  below ; 
but  she  passes  it  in  safety,  descends  to  the  ground, 
and  walks  into  her  lover's  arms  amid  the  jubilant 
songs  of  the  villagers.  Elvino  is  convinced  of  her 
innocence,  and  they  are  wedded  at  once,  while  the 
discovery  of  Lisa's  handkerchief  in  Rodolfo's  room 
pronounces  her  the  faithless  one. 

Such  is  the  simple  little  pastoral  story  to  which 
Bellini  has  set  some  of  his  most  beautiful  melodies, 
4 


5° 


THE    STANDARD    OPERAS. 


the  most  striking  of  which  are  the  aria,  "  Sovra  il 
sen,"  in  the  third  scene  of  the  first  act,  where 
Amina  declares  her  happiness  to  Teresa ;  the  beau- 
tiful aria  for  barytone  in  the  sixth  scene,  "  Vi  rav- 
viso,"  descriptive  of  Rodolfo's  delight  in  revisiting 
the  scenes  of  his  youth ;  the  playful  duet  between 
Amina  and  Elvino,  "  Mai  piu  dubbi ! "  in  which 
she  rebukes  him  for  his  jealousy;  the  humorous 
and  very  characteristic  chorus  of  the  villagers  in 
the  tenth  scene,  "  Osservate,  1'  uscio  e  aperto,"  as 
they  tiptoe  into  Rodolfo's  apartment;  the  duet, 
"O  mio  dolor,"  in  the  next  scene,  in  which 
Amina  asserts  her  innocence ;  the  aria  for  tenor 
in  the  third  scene  of  the  second  act,  "Tutto  e 
sciolto,"  in  which  Elvino  bemoans  his  sad  lot; 
and  that  joyous  ecstatic  outburst  of  birdlike  mel- 
ody, "Ah!  non  giunge,"  which  closes  the  opera. 
In  fact,  "  Sonnambula  "  is  so  replete  with  melodies 
of  the  purest  and  tenderest  kind,  that  it  is  difficult 
to  specify  particular  ones.  It  is  exquisitely  idyllic 
throughout,  and  the  music  is  as  quiet,  peaceful, 
simple,  and  tender  as  the  charming  pastoral  scenes 
it  illustrates. 

I  Puritan!. 

"  I  Puritani  di  Scozia,"  an  opera  in  two  acts, 
words  by  Count  Pepoli,  was  first  produced  at  the 
Theatre  Italien,  Paris,  Jan.  25,  1835,  and  in  Lon- 
don in  the  following  May,  under  the  title  of  "I 
Puritani  ed  i  Cavalieri."  The  original  cast  was  as 
follows :  — 


I  PURITANI.  51 

ELVIRA Mme.  GRISI. 

ARTURO Sig.  RUBINI. 

RICARDO Sig.  TAMBURINI. 

GIORGIO Sig.  LABLACHE. 

This  cast  was  one  of  unexampled  strength,  and 
was  long  known  in  Europe  as  the  Puritani  quar- 
tet. The  story  of  the  opera  is  laid  in  England, 
during  the  war  between  Charles  II.  and  his  Parlia- 
ment, and  the  first  scene  opens  in  Plymouth,  then 
held  by  the  parliamentary  forces.  The  fortress  is 
commanded  by  Lord  Walton,  whose  daughter, 
Elvira,  is  in  love  with  Lord  Arthur  Talbot,  a  young 
cavalier  in  the  King's  service.  Her  hand  had  pre- 
viously been  promised  to  Sir  Richard  Forth,  of  the 
parliamentary  army  :  but  to  the  great  delight  of  the 
maiden,  Sir  George  Walton,  brother  of  the  com- 
mander, brings  her  the  news  that  her  father  has 
relented,  and  that  Arthur  will  be  admitted  into  the 
fortress  that  the  nuptials  may  be  celebrated.  Hen- 
rietta, widow  of  Charles  I.,  is  at  this  time  a  pris- 
oner in  the  fortress,  under  sentence  of  death  passed 
by  Parliament.  Arthur  discovers  her  situation,  and 
by  concealing  her  in  Elvira's  bridal  veil  seeks  to 
effect  her  escape.  On  their  way  out  he  encounters 
his  rival ;  but  the  latter,  discovering  that  the  veiled 
lady  is  not  Elvira,  allows  them  to  pass.  The  escape 
is  soon  discovered,  and  Elvira,  thinking  her  lover 
has  abandoned  her,  loses  her  reason.  Arthur  is 
proscribed  by  the  Parliament  and  sentenced  to 
death ;  but  Sir  Richard,  moved  by  the  appeals  of 
Sir  George  Walton,  who  hopes  to  restore  his  niece 


52 


THE    STANDARD    OPERAS. 


to  reason,  promises  to  use  his  influence  with  Par- 
liament to  save  Arthur's  life  should  he  be  captured 
unarmed.  Arthur  meanwhile  manages  to  have  an 
interview  with  Elvira;  and  the  latter,  though  still 
suffering  from  her  mental  malady,  listens  joyfully  to 
his  explanation  of  his  sudden  flight.  Their  inter- 
view is  disturbed  by  a  party  of  Puritans  who  enter 
and  arrest  him.  He  is  condemned  to  die  on  the 
spot ;  but  before  the  sentence  can  be  carried  out, 
a  messenger  appears  with  news  of  the  king's  defeat 
and  the  pardon  of  Arthur.  The  joyful  tidings  re- 
store Elvira  to  reason,  and  the  lovers  are  united. 

The  libretto  of  "  I  Puritani "  is  one  of  the 
poorest  ever  furnished  to  Bellini,  but  the  music  is 
some  of  his  best.  It  is  replete  with  melodies, 
which  are  not  only  fascinating  in  their  original  set- 
ting, but  have  long  been  favorites  on  the  concert- 
stage.  The  opera  is  usually  performed  in  three 
acts,  but  was  written  in  two.  The  prominent  num- 
bers of  the  first  act  are  the  pathetic  cavatina  for 
Ricardo,  "Ah!  per  sempre  io  ti  perdei,"  in 
which  he  mourns  the  loss  of  Elvira ;  a  lovely 
romanza  for  tenor  ("A  te  o  cara  ")  ;  a  brilliant 
polacca  ("  Son  vergin  vezzosa  ")  for  Elvira,  which 
is  one  of  the  delights  of  all  artists ;  and  a  con- 
certed finale,  brimming  over  with  melody  and  clos- 
ing with  the  stirring  anathema  chorus,  "  Non  casa, 
non  spiaggia."  The  first  grand  number  in  the  sec- 
ond act  is  Elvira's  mad  song,  "  Qui  la  voce,"  in 
which  are  brought  out  not  only  that  rare  gift  for 
expressing  pathos  in  melody  for  which  Bellini  is  so 


PURITANL 


53 


famous,  but  the  sweetest  of  themes  and  most  grace- 
ful of  embellishments.  The  remaining  numbers 
are  Elvira's  appeal  to  her  lover  ("  Vien,  diletto  "), 
the  magnificent  duet  for  basses  ("  Suoni  la  trom- 
ba "),  known  as  the  "  Liberty  Duet,"  which  in 
sonorousness,  majesty,  and  dramatic  intensity  hardly 
has  an  equal  in  the  whole  range  of  Italian  opera ; 
a  tender  and  plaintive  romanza  for  tenor  ("  A  una 
fonte  aflitto  e  solo  ")  ;  a  passionate  duet  for  Arthur 
and  Elvira  ("  Star  teco  ognor  ") ;  and  an  adagio, 
sung  by  Arthur  in  the  finale  ("  Ella  e  tremante  "). 


BIZET. 


EORGES  BIZET  was  born  at  Paris,  Oct. 
25,  1838,  and  in  an  artistic  atmosphere, 
as  his  father,  an  excellent  teacher,  was 
married  to  a  sister  of  Mme.  Delsarte, 
a  talented  pianist,  and  his  uncle,  a  musician,  was 
the  founder  of  the  famous  Delsarte  system.  He 
studied  successively  with  Marmontel  and  Benoist, 
and  subsequently  took  lessons  in  composition  from 
Halevy,  whose  daughter  he  afterwards  married. 
His  first  work  was  an  operetta  of  not  much  conse- 
quence, "  Docteur  Miracle,"  written  in  1857,  and 
in  the  same  year  he  took  the  Grand  Prix  de  Rome. 
On  his  return  from  Italy  he  composed  "Vasco  de 
Gama"  and  "Les  Pecheurs  de  Perles,"  neither  of 
which  met  with  much  success.  In  1867  "La  Jolie 
Fille  de  Perth"  appeared,  and  in  1872,  "Djamileh." 
During  the  intervals  of  these  larger  works  he  wrote 
the  Patrie  overture  and  the  interludes  to  "  L'Arlesi- 
enne,"  a  very  poetical  score  which  Theodore  Thomas 
introduced  to  this  country,  and  both  works  were 
received  with  enthusiasm.  At  last  he  was  to  appre- 
ciate and  enjoy  a  real  dramatic  success,  though  it  was 


CARMEN: 


55 


his  last  work.  "Carmen"  appeared  in  1875,  and 
achieved  a  magnificent  success  at  the  Opera  Co- 
mique.  It  was  brought  out  in  March,  and  in  the  fol- 
lowing June  he  died  of  acute  heart-disease.  He 
was  a  very  promising  composer,  and  specially  ex- 
celled in  orchestration.  During  his  last  few  years 
he  was  a  close  student  of  Wagner,  whose  influence 
is  apparent  in  this  last  work  of  his  life. 

Carmen. 

"Carmen,"  an  opera  in  four  acts,  words  by  Meil- 
hac  and  Halevy,  adapted  from  Prosper  Merime'e's 
romance  of  "  Carmen,"  was  first  produced  at  the 
Opera  Comique,  Paris,  March  3,  1875,  with  Mme. 
Galli-Marie  in  the  title-role  and  Mile.  Chapuy  as 
Michaela.  The  scene  is  laid  in  Seville,  time  1820. 
The  first  act  opens  in  the  public  square,  filled  with 
a  troop  of  soldiers  under  command  of  Don  Jose", 
and  loungers  who.  are  waiting  the  approach  of  the 
pretty  girls  who  work  in  the  cigar-factory  near  by, 
and  prettiest  and  most  heartless  of  them  all,  Carmen. 
Before  they  appear,  Michaela,  a  village  girl,  enters 
the  square,  bearing  a  message  to  Don  Jose"  from  his 
mother,  but  not  finding  him  departs.  The  cigar- 
girls  at  last  pass  by  on  their  way  to  work,  and  with 
them  Carmen,  who  observes  Don  Jose"  sitting  in 
an  indifferent  manner  and  throws  him  the  rose  she 
wears  in  her  bosom.  As  they  disappear,  Michaela 
returns  and  delivers  her  message.  The  sight  of  the 
gentle  girl  and  the  thought  of  home  dispel  Don 


56  THE    STANDARD    OPERAS.. 

Josh's  sudden  passion  for  Carmen.  He  is  about  to 
throw  away  her  rose,  when  a  sudden  disturbance  is 
heard  in  the  factory.  It  is  found  that  Carmen  has 
quarrelled  with  one  of  the  girls  and  wounded  her. 
She  is  arrested,  and  to  prevent  further  mischief  her 
arms  are  pinioned.  She  so  bewitches  the  lieutenant, 
however,  that  he  connives  at  her  escape  and  suc- 
ceeds in  effecting  it,  while  she  is  led  away  to  prison 
by  the  soldiers.  In  the  second  act  Carmen  has  re- 
turned to  her  wandering  gypsy  life,  and  we  find  her 
with  her  companions  in  the  cabaret  of  Lillas-Pastia, 
singing  and  dancing.  Among  the  new  arrivals  is 
Escamillo,  the  victorious  bull-fighter  of  Grenada, 
with  whom  Carmen  is  at  once  fascinated.  When 
the  inn  is  closed,  Escamillo  and  the  soldiers  depart, 
but  Carmen  waits  with  two  of  the  gypsies,  who  are 
smugglers,  for  the  arrival  of  Don  Jose".  They  per- 
suade her  to  induce  him  to  join  their  band,  and 
when  the  lieutenant,  wild  with  passion  for  her,  enters 
the  apartment,  she  prevails  upon  him  to  remain  in 
spite  of  the  tr-umpet-call  which  summons  him  to 
duty.  An  officer  appears  and  orders  him  out.  He 
refuses  to  go,  and  when  the  officer  attempts  to  use 
force  Carmen  summons  the  gypsies.  He  is  soon 
overpowered,  and  Don  Jos£  escapes  to  the  moun- 
tains. The  third  act  opens  in  the  haunt  of  the 
smugglers,  a  wild,  rocky,  cavernous  place.  Don 
Jose1  and  Carmen,  who  is  growing  very  indifferent  to 
him,  are  there.  As  the  contrabandists  finish  their 
work  and  gradually  leave  the  scene,  Escamillo,  who 
has  been  following  Carmen,  appears.  His  presence 


CARMEN. 


57 


and  his  declarations  as  well  arouse  the  jealousy  of 
Don  Jos£.  They  rush  at  each  other  for  mortal  com- 
bat, but  the  smugglers  separate  them.  Escamillo 
bides  his  time,  invites  them  to  the  approaching  bull- 
fight at  Seville,  and  departs.  While  Don  Jose"  is 
upbraiding  Carmen,  the  faithful  Michaela,  who  has 
been  guided  to  the  spot,  begs  him  to  accompany 
her,  as  his  mother  is  dying.  Duty  prevails,  and  he 
follows  her  as  Escamillo's  taunting  song  is  heard 
dying  away  in  the  distance.  In  the  last  act  the 
drama  hurries  on  to  the  tragic  denouement.  It  is  a 
gala-day  in  Seville,  for  Escamillo  is  to  fight.  Car- 
men is  there  in  his  company,  though  her  gypsy  friends 
have  warned  her  Don  Jose"  is  searching  for  her. 
Amid  great  pomp  Escamillo  enters  the  arena,  and 
Carmen  is  about  to  follow,  when  Don  Jose"  appears 
and  stops  her.  He  appeals  to  her  and  tries  to 
awaken  the  old  love.  She  will  not  listen,  and  at  last 
in  a  fit  of  wild  rage  hurls  the  ring  he  had  given  her 
at  his  feet.  The  shouts  of  the  people  in  the  arena 
announce  another  victory  for  Escamillo.  She  cries 
out  with  joy.  Don  Jose"  springs  at  her  like  a  tiger, 
and  stabs  her  just  as  Escamillo  emerges  from  the 
contest. 

Carmen  is  the  largest  and  best-considered  of  all 
Bizet's  works,  and  one  of  the  best  in  the  modern 
French  repertory.  The  overture  is  short  but  very 
brilliant.  After  some  characteristic  choruses  by  the 
street  lads,  soldiers,  and  cigar-girls,  Carmen  sings  the 
Havanaise  ("Amor,  misterioso  angelo"),  a  quaint 
song  in  waltz  time,  the  melody  being  that  of  an  old 


58  THE    STANDARD    OPERAS. 

Spanish  song  by  Tradier,  called  "  El  Aveglito."  A 
serious  duet  between  Michaela  and  Don  Jose"  ("  Mia 
madre  io  la  rivedo  ")  follows,  which  is  very  tender 
in  its  character.  The  next  striking  number  is  the 
dance  tempo,  "  Presso  il  bastion  de  Seviglia,"  a 
seguidilla  sung  by  Carmen  while  bewitching  Don 
Jos£.  In  the  finale,  as  she  escapes,  the  Havanaise, 
which  is  the  Carmen  motive,  is  heard  again. 

The  second-act  music  is  peculiarly  Spanish  in 
color,  particularly  that  for  the  ballet.  The  opening 
song  of  the  gypsies  in  the  cabaret,  to  the  accompani- 
ment of  the  castanets  ("  Vezzi  e  anella  scintillar"), 
is  bewitching  in  its  rhythm,  and  is  followed  in  the 
next  scene  by  a  stirring  and  very  picturesque  aria 
("Toreador  attento  "),  in  which  Escamillo  describes 
the  bull-fight.  A  beautifully  written  quintet  ("  Ab- 
biamo  in  vista"),  and  a  strongly  dramatic  duet, 
beginning  with  another  fascinating  dance  tempo 
("  Voglio  danzar  pel  tuo  piacer"),  and  including  a 
beautiful  pathetic  melody  for  Don  Jos£  ("II  fior 
che  avevi "),  closes  the  music  of  the  act. 

The  third  act  contains  two  very  striking  numbers, 
the  terzetto  of  the  card-players  in  the  smugglers' 
haunt  ("  Mischiam  !  alziam  !  "),  and  Michaela's  aria 
(<*Io  dico  no,  non  son  paurosa  "),  the  most  effective 
and  beautiful  number  in  the  whole  work,  and  tne  one 
which  shows  most  clearly  the  effect  of  Wagner's  in- 
fluence upon  the  composer.  In  the  finale  of  the  act 
the  Toreador's  song  is  again  heard  as  he  disappears 
in  the  distance  after  the  quarrel  with  Don  Jos£. 

The  last  act  is  a  hurly-burly  of  the  bull-fight,  the 


CARMEN: 


59 


Toreador's  taking  march,  the  stormy  duet  between 
Don  Jose  and  Carmen,  and  the  tragic  denouement 
in  which  the  Carmen  motive  is  repeated.  The  color 
of  the  whole  work  is  Spanish,  and  the  dance  tempo 
is  freely  used  and  beautifully  worked  up  with  Bizet's 
ingenious  and  scholarly  instrumentation.  Except 
in  the  third  act,  however,  the  vocal  parts  are  inferior 
to  the  orchestral  treatment. 


BOIELDIEU. 


RANQOIS  ADRIEN  BOIELDIEU  was 
born  Dec.  16,  1775,  at  Rouen,  France. 
Little  is  known  of  his  earlier  life,  except 
that  he  studied  for  a  time  with  Broche, 
the  cathedral  organist.  His  first  opera,  "  La  Fille 
Coupable,"  appeared  in  1733,  and  was  performed 
at  Rouen  with  some  success.  In  1795  a  second 
opera,  "  Rosalie  et  Myrza,"  was  performed  in  the 
same  city;  after  which  he  went  to  Paris,  where 
he  became  acquainted  with  many  prominent  mu- 
sicians, among  them  Cherubini.  His  'first  Paris 
opera  was  the  "  Famille  Suisse  "  (1797),  which  had 
a  successful  run.  Several  other  operas  followed, 
besides  some  excellent  pieces  of  chamber  music 
which  secured  him  the  professorship  of  the  piano 
in  the  Conservatory.  He  also  took  lessons  at  this 
time  of  Cherubini  in  counterpoint,  and  in  1803 
brought  out  a  very  successful  work,  "  Ma  Tante 
Aurore."  We  next  hear  of  him  in  St.  Petersburg, 
as  conductor  of  the  Imperial  Opera,  where  he 
composed  many  operas  and  vaudevilles.  He  spent 


LA   DAME  BLANCHE.  £x 

eight  years  in  Russia,  returning  to  Paris  in  1811. 
The  next  year  one  of  his  best  operas,  "Jean  de 
Paris,"  was  produced  with  extraordinary  success. 
Though  he  subsequently  wrote  many  operas,  four- 
teen years  elapsed  before  his  next  great  work,  "  La 
Dame  Blanche,"  appeared.  Its  success  was  un- 
precedented. All  Europe  was  delighted  with  it,  and 
it  is  as  fresh  to-day  as  when  it  was  first  produced. 
The  remainder  of  Boieldieu's  life  was  sad,  owing 
to  operatic  failures,  pecuniary  troubles,  and  declin- 
ing health.  He  died  at  Jarcy,  near  Paris,  Oct.  8, 
1834. 


"  La  Dame  Blanche,"  opera  comique  in  three 
acts,  words  by  Scribe,  adapted  from  Walter  Scott's 
novels,  "  The  Monastery  "  and  "  Guy  Mannering," 
was  first  produced  at  the  Opera  Comique,  De£  .  10, 
1825,  and  was  first  performed  in  English  under 
the  title  of  "  The  White  Maid,"  at  Covent  Garden, 
London,  Jan.  2,  1827.  The  scene  of  the  opera  is 
laid  in  Scotland.  The  Laird  of  Avenel,  a  zealous 
partisan  of  the  Stuarts,  was  proscribed  after  the 
battle  of  Culloden,  and  upon  the  eve  of  going  into 
exile  intrusts  Gaveston,  his  steward,  with  the  care  of 
the  castle,  and  of  a  considerable  treasure  which  is 
concealed  in  a  statue  called  the  White  Lady.  The 
traditions  affirmed  that  this  lady  was  the  protectress 
of  the  Avenels.  All  the  clan  were  believers  in  the 
story,  and  the  villagers  declared  they  had  often 


62  THE    STANDARD    OPERAS. 

seen  her  in  the  neighborhood.  Gaveston,  however, 
does  not  share  their  superstition  nor  believe  in 
the  legend,  and  some  time  after  the  departure  of 
the  Laird  he  announces  the  sale  of  the  castle, 
hoping  to  obtain  it  at  a  low  rate  because  the  vil- 
lagers will  not  dare  to  bid  for  it  through  fear  of 
the  White  Lady.  The  steward  is  led  to  do  this 
because  he  has  heard  the  Laird  is  dead,  and  knows 
there  is  no  heir  to  the  property.  Anna,  an  orphan 
girl,  who  had  been  befriended  by  the  Laird,  deter- 
mines to  frustrate  Gaveston's  designs,  and  appears 
in  the  village  disguised  as  the  "White  Lady.  She 
also  writes  to  Dickson,  a  farmer,  who  is  indebted  to 
her,  to  meet  her  at  midnight  in  the  castle  of  Avenel. 
He  is  too  superstitious  to  go,  and  George  Brown, 
a  young  lieutenant  who  is  sharing  his  hospitality, 
volunteers  in  his  stead.  He  encounters  the  White 
Lady,  and  learns  from  her  he  will  shortly  meet  a 
young  lady  who  has  saved  his  life  by  her  careful 
nursing  after  a  battle,  —  Anna  meanwhile  recogniz- 
ing George  as  the  person  she  had  saved.  When 
the  day  of  sale  comes,  Dickson  is  empowered 
by  the  farmers  to  purchase  the  castle,  so  that  it 
may  not  fall  into  Gaveston's  hands.  George  and 
Anna  are  there ;  and  the  former,  though  he  has  not 
a  shilling,  buys  it  under  instructions  from  Anna. 
When  the  time  comes  for  payment,  Anna  produces 
the  treasure  which  had  been  concealed  in  the 
statue,  and,  still  in  the  disguise  of  the  White  Lady, 
discovers  to  him  the  secret  of  his  birth  during  the 
exile  of  his  parents.  Gaveston  approaches  the 


LA  DAME  BLANCHE.  63 

spectre  and  tears  off  her  veil,  revealing  Anna,  his 
ward.  Moved  by  the  zeal  and  fidelity  of  his 
father's  prote'ge'e,  George  offers  her  his  hand,  which, 
after  some  maidenly  scruples,  she  accepts. 

The  opera  is  full  of  beautiful  songs,  many  of 
them  Sco^h_JEL  character.  In  the  first  act  the 
opening  song  of  George  ("  Ah,  what  Pleasure  a 
Soldier  to  be  !  ")  is  very  poetical  in  its  sentiment. 
It  also  contains  the  characteristic  ballad  of  the 
White  Lady,  with  choral  responses  ("  Where  yon 
Trees  your  Eye  discovers "),  and  an  exquisitely 
graceful  trio  in  the  finale  ("  Heavens  !  what  do  I 
hear?  ").  The  second  act  opens  with  a  very  plain- 
tive romanza  (Poor  Margaret,  spin  away  !  "),  sung  by 
Margaret,  Anna's  old  nurse,  at  her  spinning-wheel, 
as  she  thinks  of  the  absent  Laird,  followed  in  the 
fifth  scene  by  a  beautiful  cavatina  for  tenor  ("  Come, 
O  Gentle  Lady").  In  the  seventh  scene  is  a 
charming  duet  ("From  these  Halls"),  and  the 
act  closes  with  an  ensemble  for  seven  voices  and 
chorus,  which  has  hardly  been  excelled  in  ingenuity 
of  treatment.  The  third  act  opens  with  a  charm- 
ingly sentimental  aria  for  Anna  ("  With  what  de- 
light I  behold"),  followed  in  the  third  scene  by  a 
stirring  chorus  of  mountaineers,  leading  up  to  "  the 
lay  ever  sung  by  the  Clan  of  Avenel,"  —  the  famil- 
iar old  ballad,  "  Robin  Adair,"  which  loses  a  little 
of  its  local  color  under  French  treatment,  but  gains 
an  added  grace.  It  is  stated  on  good  authority 
that  two  of  Boieldieu's  pupils,  Adolph  Adam  and 
Labarre,  assisted  him  in  the  work,  and  that  the 


64  THE   STANDARD    OPERAS. 

lovely  overture  was  written  in  one  evening,  — 
Boieldieu  taking  the  andante  and  the  two  others 
the  remaining  movements.  Though  a  little  old- 
fashioned  in  some  of  its  phrasing,  the  opera  still 
retains  its  freshness  and  beautiful  sentiment.  Its 
popularity  is  best  evinced  by  the  fact  that  up  to 
June,  1875,  it  had  been  given  1340  times  at  the 
theatre  where  it  was  first  produced. 


B  O  I  T  O. 


RRIGO  BOITO  was  born  in  1840,  and 
received  his  musical  education  in  the  Con- 
servatory at  Milan,  where  he  studied  for 
nine  years.  In  1866  he  became  a  musical 
critic  for  several  Italian  papers,  and  about  the  same 
time  wrote  several  poems  of  more  than  ordinary 
merit.  Both  in  literature  and  music  his  taste  was 
diversified  ;  and  he  combined  the  two  talents  in  a 
remarkable  degree  in  his  opera  of  "  Mephistophe- 
les,"  the  only  work  by  which  he  is  known  to  the 
musical  world  at  large.  He  studied  Goethe  pro- 
foundly ;  and  the  notes  which  he  has  appended  to 
the  score  show  a  most  intimate  knowledge  of  the 
Faust  legend.  His  text  is  in  one  sense  polyglot, 
as  he  has  made  use  of  portions  of  Marlowe's 
"  Doctor  Faustus,"  as  well  as  excerpts  from  Blaze 
de  Bury,  Lenau,  Widmann,  and  others  who  have 
treated  the  legend.  He  studied  Wagner's  music 
also  very  closely,  and  to  such  purpose  that  after 
the  first  performance  of  this  opera  at  La  Scala,  in 
1868,  the  critics  called  him  the  Italian  Wagner, 


66  THE    STANDARD    OPERAS. 

and,  in  common  with  the  public,  condemned  both 
him  and  his  work.  After  Wagner's  "  Lohengrin  " 
had  been  produced  in  Italy  and  met  with  success, 
Boito  saw  his  opportunity  to  once  more  bring  out 
his  work.  It  was  performed  at  Bologna  in  1875, 
and  met  with  an  enthusiastic  success.  Its  introduc- 
tion to  this  country  is  largely  due  to  Mme.  Chris- 
tine Nilsson,  though  Mme.  Marie  Roze  was  the 
first  artist  to  appear  in  it  here. 


"  Mephistopheles,"  grand  opera  in  a  prologue, 
four  acts,  and  epilogue,  words  by  the  composer, 
was  first  performed  at  La  Scala,  Milan,  in  1868. 
The  "Prologue  in  the  Heavens"  contains  five 
numbers,  a  prelude,  and  chorus  of  the  mystic 
choir  ;  instrumental  scherzo,  preluding  the  appear- 
ance of  Mephistopheles;  dramatic  interlude,  in 
which  he  engages  to  entrap  Faust  ;  a  vocal  scherzo 
by  the  chorus  of  cherubim  ;  and  the  Final  Psalmody 
by  the  penitents  on  earth  and  chorus  of  spirits. 
The  prologue  corresponds  to  Goethe's  prologue  in 
the  heavens,  the  heavenly  choirs  being  heard  in 
the  background  of  clouds,  accompanied  by  weird 
trumpet-peals  and  flourishes  in  the  orchestra,  and 
closes  with  a  finale  of  magnificent  power. 

The  first  act  opens  in  the  city  of  Frankfort, 
amid  the  noise  of  the  crowd  and  the  clanging  of 
holiday  bells.  Groups  of  students,  burghers,  hunts- 
men, and  peasants  sing  snatches  of  chorQs.  A 


MEPHISTOPHELES.  67 

cavalcade  escorting  the  Elector  passes.  Faust  and 
Wagner  enter,  and  retire  as  the  peasants  begin 
to  sing  and  dance  a  merry  waltz  rhythm  ("  Juh£  ! 
June  !  ").  As  it  dies  away  they  reappear,  Faust 
being  continually  followed  by  a  gray  friar, — 
Mephistopheles  in  disguise,  —  whose  identity  is 
disclosed  by  a  motive  from  the  prologue.  Faust 
shudders  at  his  presence,  but  Wagner  laughs  away 
his  fears,  and  the  scene  then  suddenly  changes  to 
Faust's  laboratory,  whither  he  has  been  followed  by 
the  gray  friar,  who  conceals  himself  in  an  alcove. 
Faust  sings  a  beautiful  aria  ("  Dai  campi,  dai 
prati "),  and  then,  placing  the  Bible  on  a  lectern, 
begins  to  read.  The  sight  of  the  book  brings 
Mephistopheles  out  with  a  shriek ;  and,  questioned 
by  Faust,  he  reveals  his  true  self  in  a  massive  and 
sonorous  aria  ("  Son  lo  spirito  ").  He  throws  off 
his  disguise,  and  appears  in  the  garb  of  a  knight, 
offering  to  serve  Faust  on  earth  if  he  will  serve  the 
powers  of  darkness  in  hell.  The  compact  is  made, 
as  in  the  first  act  of  Gounod's  "  Faust ;  "  and  the 
curtain  falls  as  Faust  is  about  to  be  whisked  away 
in  Mephistopheles's  cloak. 

The  second  act  opens  in  the  garden,  with  Faust 
(under  the  name  of  Henry),  Marguerite,  Mephis- 
topheles, and  Martha,  Marguerite's  mother,  stroll- 
ing in  couples.  The  music,  which  is  of  a  very 
sensuous  character,  is  descriptive  of  the  love- 
making  between  Faust  and  Marguerite,  and  the 
sarcastic  passion  of  Mephistopheles  for  Martha. 
It  is  mostly  in  duet  form,  and  closes  with  a  quartet 


68  THE   STANDARD    OPERAS, 

allegretto  ("Addio,  fuggo"),  which  is  very  charac- 
teristic. The  scene  then  suddenly  changes  to  the 
celebration  of  the  Witches'  Sabbath  on  the  sum- 
mits of  the  Brocken,  where,  amid  wild  witch  cho- 
ruses, mighty  dissonances,  and  weird  incantation 
music,  Faust  is  shown  a  vision  of  the  sorrow  of 
Marguerite.  It  would  be  impossible  to  select  spe- 
cial numbers  from  this  closely  interwoven  music, 
excepting  perhaps  the  song  ("  Ecco  il  mondo ") 
which  Mephistopheles  sings  when  the  witches,  after 
their  incantation,  present  him  with  a  globe  of  glass 
which  he  likens  to  the  earth. 

The  third  act  opens  in  a  prison,  where  Margue- 
rite is  awaiting  the  penalty  for  murdering  her  babe. 
The  action  is  very  similar  to  that  of  the  last  act  of 
Gounod's  "  Faust."  Her  opening  aria  ("  L'  altra 
notte  a  fondo  al  maro  ")  is  full  of  sad  longings  for 
the  child  and  insane  meanings  for  mercy.  Faust 
appeals  to  her  to  fly  with  him,  and  they  join  in 
a  duet  of  extraordinary  sensuous  beauty  blended 
with  pathos  ("  lontano,  lontano  ").  Mephistopheles 
urges  Faust  away  as  the  day  dawns,  and  pronounces 
her  doom  as  she  falls  and  dies,  while  the  angelic 
chorus  resounding  in  the  orchestra  announces  her 
salvation. 

In  the  fourth  act  a  most  abrupt  change  is  made, 
both  in  a  dramatic  and  musical  sense.  The  scene 
changes  to  the  "Night  of  the  Classical  Sabbath" 
on  the  banks  of  the  Peneus,  amid  temples,  statues, 
flowers,  and  all  the  loveliness  of  nature  in  Greece. 
The  music  also  changes  into  the  pure,  sensuous 


MEPHISTOPHELES. 


69 


Italian  style.  Faust,  still  with  Mephistopheles, 
pays  court  to  Helen  of  Troy,  who  is  accompanied 
by  Pantalis.  The  opening  duet  for  the  latter  ("  La 
luna  immobile")  is  one  of  exceeding  grace  and 
loveliness,  and  will  always  be  the  most  popular 
number  in  the  work.  With  the  exception  of  a 
powerfully  dramatic  scena,  in  which  Helen  de- 
scribes the  horrors  of  the  destruction  of  Troy,  the 
music  is  devoted  to  the  love-making  between  Helen 
and  Faust,  and  bears  no  relation  in  form  to  the  rest 
of  the  music  of  the  work,  being  essentially  Italian 
in  its  smooth,  flowing,  melodious  character.  At 
the  close  of  the  classical  Sabbath  another  abrupt 
change  is  made,  to  the  death-scene  of  Faust,  con- 
tained in  an  epilogue.  It  opens  in  hi^  laboratory, 
where  he  is  reflecting  upon  the  events  of  his  unsatis- 
factory life,  and  contemplating  a  happier  existence 
in  heaven.  Mephistopheles  is  still  by  his  side  as 
the  tempter,  offers  him  his  cloak,  and  urges  him 
to  fly  again.  The  heavenly  trumpets  which  rang 
through  the  prologue  are  again  heard,  and  the 
celestial  choirs  are  singing.  Enraged,  Mephis- 
topheles summons  the  sirens,  who  lure  Faust  with 
all  their  charms.  Faust  seizes  the  Sacred  Volume, 
and  declares  that  he  relies  upon  its  word  for  salva- 
tion. He  prays  for  help  against  the  demon.  His 
prayer  is  answered ;  and  as  he  dies  a  shower  of 
roses  falls  upon  his  body.  The  tempter  disappears, 
and  the  finale  of  the  prologue,  repeated,  announces 
Faust  has  died  in  salvation.  The  opera  as  a  whole 
is  episodical  in  its  dramatic  construction,  and  the 


yo  THE    STANDARD    OPERAS. 

music  is  a  mixture  of  two  styles,  —  the  Wagnerian 
and  the  conventional  Italian ;  but  its  orchestration 
is  very  bold  and  independent  in  character,  and  the 
voice-parts  are  very  striking  in  their  adaptation  to 
the  dramatic  requirements. 


DELIBES. 

EO  DELIBES,  the  French  composer,  was 
born  at  St.  Germain  du  Val  in  1836,  and 
was  graduated  at  the  Paris  Conservatory, 
where  he  reached  high  distinction.  His 
first  work,  written  in  1855,  was  an  operetta  entitled 
"  Deux  Sous  de  Carbon  ;  "  but  he  did  not  make  his 
mark  until  his  "  Maitre  Griffard  "  was  produced  at 
the  Theatre  Lyrique  in  1857.  In  1865  he  was 
appointed  Chorus-master  at  the  Opera,  and  there 
his  real  career  began.  His  first  great  triumph  was 
in  ballet-music,  which  has  ever  since  been  his 
specialty.  His  first  ballet,  "  La  Source,"  was  pro- 
duced at  the  Opera,  Nov.  12,  1865,  and  delighted 
all  Paris.  It  was  followed  by  a  divertisement  for 
the  revival  of  Adam's  "  Corsaire  "  (1867),  the  ballet 
"  Coppelia  "  (1870),  a  three-act  opera  "  Le  Roi  1'a 
dit"  (1873),  and  the  exquisite  ballet  in  three  acts 
and  five  tableaux,  "Sylvia"  (1876),  with  which 
Theodore  Thomas  has  made  American  audiences 
familiar.  His  opera  "Lakme"  was  written  in  1879. 


THE  STANDARD   OPERAS. 


The  romantic  opera,  "Lakme/'  written  in  1879, 
was  first  performed  in  this  country  by  the  American 
Opera  Company  in  1886,  Mme.  L'Allemand  taking 
the  title-role.  The  principal  characters  are  Lakme, 
daughter  of  Nilakantha,  an  Indian  priest,  Gerald  and 
Frederick,  officers  of  the  British  Army,  Ellen  and 
Rose,  daughters  of  the  Viceroy,  and  Mrs.  Benson, 
governess.  The  scene  is  laid  in  India.  Nilakantha 
cherishes  a  fond  hatred  of  all  foreigners.  The  two 
English  officers,  Gerald  and  Frederick,  accom- 
panied by  a  bevy  of  ladies,  intrude  upon  his  sacred 
grounds.  They  stroll  about  and  gradually  retire, 
but  Gerald  remains  to  sketch  some  jewels,  which 
Lakme  has  left  upon  a  shrine  while  she  goes  flower- 
gathering  with  her  slave  Mallika,  evidently  also  to 
await  developments  when  she  returns.  Lakme  soon 
comes  sailing  in  on  her  boat,  and  there  is  a  des- 
perate case  of  love  at  first  sight.  Their  demon- 
strations of  affection  are  soon  interrupted  by  the 
appearance  of  the  priest,  whose  anger  Gerald  es- 
capes by  fleeing,  under  cover  of  a  convenient 
thunder-storm.  In  the  next  act  Lakme  and  her 
father  appear  in  the  public  market-place,  disguised 
as  penitents.  He  compels  his  daughter  to  sing, 
hoping  that  her  face  and  voice  will  induce  her 
lover  to  disclose  himself.  The  ruse  proves  suc- 
cessful. Nilakantha  waits  his  opportunity,  and  steal- 
ing upon  his  enemy  stabs  him  in  the  back  and 
makes  good  his  escape.  In  the  third  act  we  find 
Gerald  in  a  delightful  jungle,  where  Lakme  has  in 


LAKME. 


73 


some  manner  managed  to  conceal  him,  and  where 
she  is  carefully  nursing  him  with  the  hope  of  per- 
manently retaining  his  love.  She  saves  his  life  ;  but 
just  at  this  juncture,  and  while  she  is  absent  to 
obtain  a  draught  of  the  water  which,  according  to 
the  Indian  legend,  will  make  earthly  love  eternal, 
Gerald  hears  the  music  of  his  regiment,  and  Fred- 
erick appears  and  urges  him  back  to  duty.  His 
allegiance  to  his  queen,  and  possibly  the  remem- 
brance of  his  engagement  to  a  young  English  girl, 
prove  stronger  than  his  love  for  Lakme.  The  latter 
returns,  discovers  his  faithlessness,  gathers  some 
poisonous  flowers,  whose  juices  she  drinks,  and  dies 
in  Gerald's  arms  just  as  the  furious  father  appears. 
As  one  victim  is  sufficient  to  appease  the  anger  of 
Nilakantha's  gods,  Gerald  is  allowed  to  go  un- 
harmed. 

The  first  act  opens  with  a  chorus  of  Hindoos, 
oriental  in  its  character,  followed  by  a  duet  between 
Lakme  and  her  father ;  the  scene  closing  with  a 
sacred  chant.  The  Hindoos  gone,  there  is  a 
charming  oriental  duet  ("  'Neath  yon  Dome  where 
Jasmines  with  the  Roses  are  blooming")  between 
Lakme  and  her  slave,  which  is  one  of  the  gems  of 
the  opera.  The  English  then  appear  and  have 
a  long,  talky  scene,  relieved  by  a  pretty  song  for 
Frederick  ("  I  would  not  give  a  Judgment  so  ab- 
surd "),  and  another  for  Gerald  ("  Cheating  Fancy 
coming  to  mislead  me  ").  As  Lakme  enters,  Gerald 
conceals  himself.  She  lays  her  flowers  at  the  base 
of  the  shrine  and  sings  a  restless  love-song  ("  Why 
love  I  thus  to  stray?").  Gerald  discovers  himself, 


74 


THE  STANDARD   OPERAS. 


and  after  a  colloquy  sings  his  ardent  love-song 
("The  God  of  Truth  so  glowing"),  and  the  act 
closes  with  Nilakantha's  threats. 

The  second  act  opens  in  the  market  square,  lively 
with  the  choruses  of  Hindoos,  Chinamen,  fruit- 
venders,  and  sailors,  and  later  on  with  the  adven- 
tures of  the  English  party  in  the  crowd.  Nilakantha 
appears  and  addresses  his  daughter  in  a  very  pathetic 
aria  ("  Lakme,  thy  soft  Looks  are  over-clouded"). 
Soon  follows  Lakme's  bell-song  ("  Where  strays 
the  Hindoo  Maiden?"),  a  brilliant  and  highly  em- 
bellished aria  with  tinkling  accompaniment,  which 
will  always  be  a  favorite.  The  recognition  follows  ; 
and  the  remaining  numbers  of  importance  are  an 
impassioned  song  by  Gerald  ("Ah  !  then  'tis  slum- 
bering Love  "),  with  a  mysterious  response  by  Lakme 
("  In  the  Forest  near  at  Hand  ").'  A  ballet,  followed 
by  the  stabbing  of  Gerald,  closes  the  act. 

In  the  third  act  the  action  hastens  to  the  tragic 
denouement.  It  opens  with  a  beautiful  crooning 
song  by  Lakme  ("  'Neath  the  Dome  of  Moon  and 
Star")  as  she  watches  her  sleeping  lover.  The 
remaining  numbers  of  interest  are  Gerald's  song 
("Tho'  speechless  I,  my  Heart  remembers  "),  fol- 
lowed by  a  pretty  three-part  chorus  in  the  distance 
and  Lakme's  dying  measures,  "To  me  the  fairest 
Dream  thou  'st  given,"  and  "  Farewell,  the  Dream 
is  over."  Though  the  opera  is  monotonous  from 
sameness  of  color  and  lack  of  dramatic  interest, 
there  are  many  numbers  which  leave  a  charming 
impression  by  their  grace,  refinement,  and  genuine 
poetical  effect. 


DONIZETTI. 

AETANO  DONIZETTI  was  born  at  Ber- 
gamo, Italy,  Sept.  25,  1798.  He  studied 
music  both  at  Bologna  and  Naples,  and 
then  entered  the  army  rather  than  sub- 
ject himself  to  the  caprice  of  his  father,  who  was 
determined  that  he  should  devote  himself  to 
church  music.  While  his  regiment  was  at  Naples 
he  wrote  his  first  opera,  "  Enrico  di  Borgogna " 
(1818),  which  was  soon  followed  by  a  second, 
"  II  Falegname  de  Livonia."  The  success  of  the 
latter  was  so  great  that  it  not  only  freed  him  from 
military  service  but  gained  him  the  honor  of 
being  crowned.  The  first  opera  which  spread  his 
reputation  through  Europe  was  "Anna  Bolena," 
produced  at  Milan  in  1830,  and  written  for  Pasta 
and  Rubini.  Two  years  afterwards,  "  L'  Elisir 
d'  Amore "  appeared,  which  he  is  said  to  have 
written  in  fifteen  days.  He  wrote  with  great  facil- 
ity. "II  Furioso,"  "Parisina,"  "Torquato  Tasso," 
"  Lucrezia  Borgia,"  and  "  Gemma  di  Vergi  "  rap- 
idly followed  one  another.  In  1835  he  brought  out 


76 


THE   STANDARD    OPERAS. 


"  Marino  Faliero,"  but  its  success  was  small.  Am- 
ple compensation  was  made,  however,  when  in  the 
same  year  "  Lucia  "  appeared  and  was  received  with 
acclamations  of  delight.  He  was  invited  to  Paris 
as  the  successor  of  Rossini,  and  wrote  his  "  Marino 
Faliero  "  for  the  Theatre  des  Italiens.  In  1840  he 
revisited  Paris  and  produced  "  II  Poliuto,"  "  La 
Fille  du  Regiment,"  and  "  La  Favorita."  Leaving 
Paris  he  visited  Rome,  Milan,  and  Vienna,  bring- 
ing out  "  Linda  di  Chamouni "  in  the  latter  city. 
Returning  to  Paris  again,  he  produced  "  Don  Pas- 
quale  "  at  the  Theatre  des  Italiens  and  "  Don  Se- 
bastien "  at  the  Academic,  the  latter  proving  a 
failure.  His  last  opera,  "  Catarina  Comaro,"  was 
brought  out  at  Naples  in  1844.  This  work  also 
was  a  failure.  It  was  evident  that  his  capacity  for 
work  was  over.  He  grew  sad  and  melancholy,  and 
during  the  last  three  years  of  his  life  was  attacked 
by  fits  of  abstraction  which  gradually  intensified  and 
ended  in  insanity  and  physical  paralysis.  He  died 
at  Bergamo,  April  8,  1848. 

5TI)e  pattghter  of  the  ^Regiment. 

"The  Daughter  of  the  Regiment  "  ("  La  Fille  du 
Regiment")  opera  comique  in  two  acts,  words  by 
Bayard  and  St.  Georges,  was  first  produced  at  the 
Opera  Comique,  Paris,  Feb.  n,  1840,  with  Mme. 
Anna  Thillon  in  the  role  of  Marie.  Its  first  per- 
formance in  English  was  at  the  Surrey  Theatre, 
London,  Dec.  21,  1847,  under  the  title  of  "The 


DAUGHTER   OF  THE  REGTMENT. 


77 


Daughter  of  the  Regiment,"  in  which  form  it  is 
best  known  in  this  country.  In  1847  it  was  per- 
formed as  an  Italian  opera  in  London,  with  added 
recitatives,  and  with  Jenny  Lind  in  the  leading 
part. 

The  music  of  the  opera  is  light  and  sparkling, 
the  principal  interest  centring  in  the  charming 
nature  of  the  story  and  its  humorous  situations, 
which  afford  capital  opportunities  for  comedy  acting. 
The  scene  is  laid  in  the  Tyrol  during  its  occupation 
by  the  French.  Marie,  the  heroine,  and  the  vivan- 
diere  of  the  Twenty-first  regiment  of  Napoleon's 
army,  was  adopted  as  the  Daughter  of  the  Regi- 
ment, because  she  was  found  on  the  field,  after  a 
battle,  by  Sergeant  Sulpice.  On  her  person  was 
affixed  a  letter  written  by  her  father  to  the  Mar- 
chioness of  Berkenfeld,  which  has  been  carefully 
preserved  by  the  Sergeant.  At  the  beginning  of 
the  opera  the  little  waif  has  grown  into  a  sprightly 
young  woman,  full  of  mischief  and  spirit,  as  is 
shown  by  her  opening  song  ("  The  Camp  was  my 
Birthplace"),  in  which  she  tells  the  story  of  her 
life,  and  by  the  duet  with  Sulpice,  known  the  world 
over  as  "The  Rataplan,"  which  is  of  a  very  ani- 
mated, stirring,  and  martial  character,  to  the  accom- 
paniment of  rattling  drums  and  sonorous  brasses. 
She  is  the  special  admiration  of  Tony,  a  Tyrolean 
peasant,  who  has  saved  her  from  falling  over  a 
precipice.  The  soldiers  of  the  regiment  are  pro- 
fuse in  their  gratitude  to  her  deliverer,  and  cele- 
brate her  rescue  with  ample  potations,  during  which 


ijg  THE    STANDARD    OPERAS. 

Marie  sings  the  Song  of  the  Regiment  ("  All  Men 
confess  it  ").  Poor  Tony,  however,  who  was  found 
strolling  in  the  camp,  is  placed  under  arrest  as  a 
spy,  though  he  succeeds  in  obtaining  an  interview 
with  Marie  and  declares  his  love  for  her.  The 
declaration  is  followed  by  a  charming  duet  ("  No 
longer  can  I  doubt  it ").  Tony  manages  to  clear 
up  his  record,  and  the  soldiers  decide  that  he  may 
have  Marie's  hand  if  he  will  consent  to  join  them. 
He  blithely  accepts  the  condition  and  dons  the 
French  cockade.  Everything  seems  auspicious, 
when  suddenly  the  Marchioness  of  Berkenfeld 
appears  and  dashes  Tony's  hopes  to  the  ground. 
The  Sergeant,  as  in  honor  bound,  delivers  the  letter 
he  has  been  preserving.  After  reading  it  she  claims 
Marie  as  her  niece,  and  demands  that  the  regiment 
shall  give  up  its  daughter,  while  Tony  is  incon- 
tinently dismissed  as  an  unsuitable  person  to  be 
connected  in  any  capacity  with  her  noble  family. 
Marie  sings  a  touching  adieu  to  her  comrades 
("  Farewell,  a  long  Farewell  "),  and  the  act  closes 
with  smothered  imprecations  on  the  Marchioness 
by  the  soldiers,  and  protestations  of  undying  love 
by  Tony. 

The  second  act  opens  in  the  castle  of  Berkenfeld, 
where  Marie  is  duly  installed,  though  she  does  not 
take  very  kindly  to  her  change  of  surroundings. 
The  old  Sergeant  is  with  her.  Grand  company  is 
expected,  and  the  Marchioness  desires  Marie  to 
rehearse  a  romance  ("The  Light  of 'Early  Days 
was  breaking "),  which  she  is  to  sing  to  them. 


DAUGHTER  OF  THE  REGIMENT. 


79 


Before  she  finishes  it  she  and  the  Sergeant  break 
out  into  the  rollicking  Rataplan  and  go  through 
with  the  military  evolutions,  to  the  horror  of  the  Mar- 
chioness. While  regret  for  the  absent  Tony  keeps 
her  in  a  sad  mood,  she  is  suddenly  cheered  up  by 
the  sound  of  drums  and  fifes,  announcing  the  ap- 
proach of  soldiers.  They  are  the  gallant  Twenty- 
first,  with  Tony,  now  a  colonel,  at  their  head.  He 
applies  once  more  for  Marie's  hand.  The  soldiers 
also  put  in  a  spirited  choral  appeal  ("We  have 
come,  our  Child  to  free").  The  Marchioness 
again  refuses.  Tony  proposes  an  elopement,  to 
which  Marie,  in  resentment  at  her  aunt's  cruelty, 
consents.  To  thwart  their  plans,  the  Marchioness 
reveals  to  Marie  that  early  in  life  she  had  been 
secretly  married  to  an  officer  of  lower  family  posi- 
tion than  her  own,  and  that  this  officer  was  Marie's 
father.  Unable  to  dispute  the  wishes  of  her  mother, . 
she  renounces  Tony  in  an  agony  of  grief.  At  last 
Marie's  sorrow  arouses  old  associations  in  the  mind 
of  the  Marchioness,  and  she  consents  to  the  union 
of  Tony  and  Marie. 

While  the  music  of  the  opera  is  light,  it  is  none 
the  less  very  attractive,  and  the  work  is  nearly 
always  popular  when  performed  by  good  artists, 
owing  to  the  comedy  strength  of  the  three  leading 
parts,  Marie,  Tony,  and  the  Sergeant.  The  role 
of  the  heroine,  small  as  it  is,  has  always  been 
a  favorite  one  with  such  great  artists  as  Jenny  Lind, 
Patti,  Sontag,  and  Albani,  while  in  this  country 
Miss  Kellogg  and  Mrs.  Richings-Bernard  made 


8o  THE    STANDARD    OPERAS. 

great  successes  in  the  part.  The  latter  singer, 
indeed,  and  her  father,  whose  personation  of  the 
Sergeant  was  very  remarkable,  were  among  the  first 
to  perform  the  work  in  the  United  States. 


"  La  Favorita,"  an  opera  in  four  acts,  words  by 
Royer  and  Waetz,  the  subject  taken  from  the 
French  drama,  "  Le  Comte  de  Commingues,"  was 
first  produced  at  the  Academic,  Paris,  Dec.  2,  1840, 
with  Mme.  Stolz  as  Leonora,  Duprez  as  Fernando, 
and  Baroelhst  as  Balthasar.  Its  success  in  England, 
where  it  was  first  produced  Feb.  16,  1847,  was 
made  by  Grisi  and  Mario.  The  scene  of  the  opera 
is  laid  in  Spain,  and  the  first  act  opens  in  the  con- 
vent of  St.  James,  of  Compostella,  where  the  young 
novice,  Fernando,  is  about  to  take  monastic  vows. 
Before  the  rites  take  place  he  is  seized  with  a  sud- 
den passion  for  Leonora,  a  beautiful  maiden  who 
has  been  worshipping  in  the  cloisters.  He  con- 
fesses his  love  to  Balthasar,  the  superior,  who  or- 
ders him  to  leave  the  convent  and  go  out  into 
the  world.  Leonora,  meanwhile,  is  beloved  by 
Alphonso,  king  of  Castile,  who  has  provided  her  a 
secret  retreat  on  the  island  of  St.  Leon.  Though 
threatened  by  the  pontiff  with  excommunication,  he 
has  resolved  to  repudiate  his  queen,  in  order  that 
he  may  carry  out  his  intention  of  marrying  the 
beautiful  Leonora.  To  her  asylum  a  bevy  of  maid- 
ens conducts  Fernando.  He  declares  his  passion 


LA  FAVORITA.  81 

for  her  and  finds  it  reciprocated.  He  urges  her 
to  fly  with  him,  but  she  declares  it  impossible,  and 
giving  him  a  commission  in  the  army  signed  by  the 
King,  urges  him  to  go  to  the  wars  and  win  honors 
for  her  sake. 

In  the  second  act  Balthasar,  in  the  name  of  the 
pontiff,  visits  their  retreat  and  pronounces  the  papal 
anathema  upon  the  guilty  pair.  The  same  curse  is 
threatened  to  all  the  attendants  unless  Leonora  is 
driven  from  the  King,  and  the  act  closes  with  their 
vengeful  menaces. 

In  the  third  act  Fernando  returns  victorious  from 
the  war  with  the  Moors.  Already  beginning  to 
fear  the  result  of  the  papal  malediction,  and  hav- 
ing learned  of  Leonora's  passion  for  the  victor, 
Alphonso  heaps  rewards  upon  him,  even  to  the  ex- 
tent of  giving  him  Leonora's  hand.\  Fernando,  who 
is  ignorant  of  her  past  relations  to  the  King,  eagerly 
accepts  the  proffer ;  but  Leonora,  in  despair,  sends 
her  attendant,  Inez,  to  inform  him  of  the  real  nature 
of  the  situation  and  implore  his  forgiveness.  The 
King  intercepts  her,  and  the  marriage  takes  place 
at  once,  Fernando  not  discovering  Leonora's  shame 
until  it  is  revealed  by  the  courtiers,  who  avoid  him. 
He  flies  from  the  world  to  the  convent  once  more 
for  shelter  and  consolation,  followed  by  Leonora,  who 
dies  in  his  arms  after  she  has  obtained  forgiveness. 

The  music  of  the  work  is  very  dramatic  in  its 

character,  some  of  the  finales  being  the  strongest 

Donizetti  has  written.     In  the  first  act  there  is  a 

beautifully  melodious  aria  ("  Una  Vergine "),  in 

6 


82  THE    STANDARD    OPERAS. 

which  Fernando  describes  to  Balthasar  the  vision 
of  Leonora  which  had  appeared  to  him  at  his  ori- 
sons, and  a  very  tender  duet  ("  Deh,  vanne  !  deh, 
parti  ")  between  Fernando  and  Leonora,  in  which 
they  sorrowfully  part  from  each  other.  In  the  sec- 
ond act  the  King  has  a  very  passionate  aria,  where 
he  curses  his  courtiers  for  leaguing  against  him  at 
Rome,  followed  by  a  very  dramatic  duet  with  Leo- 
nora ("  Ah  !  F  alto  ardor  ").  The  third  act  con- 
tains the  beautiful  aria,  "  O  mio  Fernando  !  " 
which  is  a  favorite  with  all  contraltos.  It  is  re- 
markable for  its  warmth  and  richness,  as  well  as  its 
dramatic  spirit,  and  the  act  closes  with  a  concerted 
finale  of  splendid  power,  in  which  Fernando  breaks 
his  sword,  and  once  more  Balthasar  anathematizes 
the  King.  The  fourth  act  is  the  most  beautiful  of 
all  in  its  music  and  the  most  powerful  in  dramatic 
effect.  The  chorus  of  monks  in  the  first  scene 
("  Scaviam  1'  asilo  ")  is  remarkable  for  its  religious 
character  and  solemnity.  In  the  third  scene  occurs 
one  of  the  tenderest  and  loveliest  romanzas  ever 
written  ("  Spirto  gentil"),  which  Donizetti  trans- 
ferred to  this  work  from  his  opera,  "  Le  Due 
d'Albe,"  which  had  not  been  performed,  and  the 
libretto  of  which  was  originally  written  by  Scribe 
for  Rossini.  The  closing  duet  between  Fernando 
and  Leonora  is  full  of  pathos  and  beauty,  and  forms 
a  fitting  close  to  an  act  which,  in  one  sense  at  least, 
is  an  inspiration,  as  the  whole  act  was  composed  in 
four  hours,  —  a  proof  of  the  marvellous  ease  and 
facility  with  which  Donizetti  wrote. 


DON  PASQUALE.  83 


^oit  ftestquale. 

"  Don  Pasquale,"  an  opera  buffa  in  thiee  acts,  was 
first  produced  at  the  Theatre  des  Italiens  in  Paris, 
Jan.  4,  1843,  with  the  following  extraordinary  cast: 

NORINA      ...........  Mme.  GRISI. 

ERNESTO    ...........  Sig.  MARIO. 

DR.  MALATESTA      ........  Sig.  TAMBURINI. 

DON  PASQUALE  .........  Sig.  LABLACHE. 

The  scene  of  this  brilliant  and  gay  little  opera  is 
kid  in  Rome.  Don  Pasquale  is  in  a  rage  with 
Ernesto,  his  nephew,  because  he  will  not  marry  to 
suit  him.  Dr.  Malatesta,  his  friend  and  physician, 
who  is  also  very  much  attached  to  the  nephew, 
contrives  a  plot  in  the  latter's  interest.  He  visits 
the  Don,  and  urges  him  to  marry  a  lady,  pretending 
that  she  is  his  sister,  though  in  reality  she  is  Norina, 
with  whom  Ernesto  is  in  love.  He  then  calls  upon 
Norina,  and  lets  her  into  the  secret  of  the  plot,  and 
instructs  her  how  to  play  her  part.  She  is  to  con- 
sent to  the  marriage  contract,  and  then  so  harass 
the  Don  that  he  will  not  only  be  glad  to  get  rid  of 
her,  but  will  give  his  consent  to  her  marriage  with 
Ernesto.  The  second  act  opens  in  Don  Pasquale's 
house,  where  Ernesto  is  bewailing  his  fate.  The 
Don  enters,  magnificently  dressed,  and  ready  for 
the  marriage.  Norina  appears  with  Malatesta,  and 
feigns  reluctance  to  enter  into  the  contract;  but 
when  the  notary  arrives  she  consents  to  sign.  No 
sooner,  however,  has  she  signed  it  than  she  drops 


84  THE   STANDARD    OPERAS. 

her  assumed  modesty.  Ernesto,  who  is  present,  is 
bewildered  at  the  condition  of  affairs,  but  is  kept 
quiet  by  a  sign  from  the  Doctor.  Norina  refuses 
all  the  Don's  amatory  demonstrations,  and  declares 
Ernesto  shall  be  her  escort.  She  summons  the  ser- 
vants, and  lays  out  a  scheme  of  housekeeping  so 
extravagant  that  the  Don  is  enraged,  and  declares 
he  will  not  pay  the  bills.  She  insists  he  shall,  for 
she  is  now  master  of  the  house.  In  the  third  act 
we  find  Norina  entertaining  milliners  and  modistes. 
Don  Pasquale  enters,  and  learning  that  she  is  going 
to  the  theatre  forbids  it,  which  leads  to  a  quarrel, 
during  which  Norina  boxes  his  ears.  As  she  leaves 
the  room  she  drops  a  letter,  the  reading  of  which 
adds  the  pangs  of  jealousy  to  his  other  troubles. 
The  Doctor  at  this  juncture  happens  in  and  con- 
doles with  him.  The  Don  insists  that  Norina  shall 
quit  his  house  at  once.  In  the  next  scene  he  taxes 
her  with  having  a  lover  concealed  in  the  house,  and 
orders  her  to  leave.  The  Doctor  counsels  him  to 
let  his  nephew  marry  Norina ;  and  in  the  course  of 
explanations  the  Don  discovers  that  the  Doctor's 
sister  and  Norina  are  one  and  the  same  person,  and 
that  the  marriage  was  a  sham.  He  is  only  too  glad 
of  an  escape  to  quarrel  with  the  Doctor  for  his  plot, 
and  the  young  couple  are  speedily  united,  and  have 
the  old  man's  blessing. 

The  charm  of  the  opera  lies  in  its  comic  situa- 
tions, and  the  gay,  bright  music  with  which  they  are 
illustrated.  It  is  replete  with  humor  and  spirit,  and 
flows  along  in  such  a  bright  stream  that  it  is  almost 


DON  PASQUALE.  85 

impossible  to  cull  out  special  numbers,  though  it 
contains  two  duets  and  a  quartet  which  are  of  more 
than  ordinary  beauty,  and  the  exquisite  serenade  in 
the  last  act,  "  Com'  e  gentil,"  which  has  been  heard 
on  almost  every  concert-stage  of  the  world,  and  still 
holds  its  place  in  universal  popular  esteem.  For 
brilliant  gayety  it  stands  in  the  front  rank  of  all 
comic  operas,  though  Donizetti  was  but  three  weeks 
in  writing  it.  It  is  said  that  when  it  was  in  rehear- 
sal its  fate  was  uncertain.  The  orchestra  and  sing- 
ers received  it  very  coldly ;  but  when  the  rehearsal 
was  over,  Donizetti  merely  shrugged  his  shoulders 
and  remarked  to  his  friend,  M.  Dormoy,  the  pub- 
lisher :  "  Let  them  alone  ;  they  know  nothing  about 
it.  I  know  what  is  the  matter  with  '  Don  Pasquale.' 
Come  with  me."  They  went  to  the  composer's 
house.  Rummaging  among  a  pile  of  manuscripts, 
Donizetti  pulled  out  a  song.  "  This  is  what '  Don 
Pasquale  '  wants,"  he  said.  "Take  it  to  Mario  and 
tell  him  to  learn  it  at  once."  Mario  obeyed,  and 
when  the  opera  was  performed  sang  it  to  the  ac- 
companiment of  a  tambourine,  which  Lablache 
played  behind  the  scenes.  The  opera  was  a  success 
at  once,  and  no  song  has  ever  been  more  popular. 

In  strange  contrast  with  the  gay  humor  of 
"  Don  Pasquale,"  it  may  be  stated  that  in  the  same 
year  Donizetti  wrote  the  mournful  "Don  Sebas- 
tian," which  has  been  described  as  "  a  funeral  in 
five  acts."  Crowest,  in  his  "Anecdotes,"  declares 
that  the  serenade  is  suggestive  of  Highland  music, 
and  that  many  of  his  other  operas  are  Scottish  in 


86  THE    STANDARD    OPERAS. 

color.  He  accounts  for  this  upon  the  theory  that 
the  composer  was  of  Scotch  descent,  his  grandfather 
having  been  a  native  of  Perthshire,  by  the  name  of 
Izett,  and  that  his  father,  who  married  an  Italian 
lady,  was  Donald  Izett.  The  change  from  Donald 
Izett  to  Donizetti  was  an  easy  one.  The  story, 
however,  is  of  doubtful  authenticity. 


fDttda  fci  ^ammermcor. 

"  Lucia  di  Lammermoor,"  an  opera  in  three  acts, 
words  by  Cammarano,  was  first  produced  at  Naples 
in  1835,  ^h  Mme.  Persiani  and  Sig.  Duprez,  for 
whom  the  work  was  written,  in  the  principal  roles 
of  Lucia  and  Edgardo.  Its  first  presentation  at 
Paris  was  Aug.  10,  1839  ;  in  London,  April  5,  1838  ; 
and  in  English,  at  the  Princess  Theatre,  London, 
Jan.  19,  1843.  The  subject  of  the  opera  is  taken 
from  Sir  Walter  Scott's  novel,  "  The  Bride  of  Lam- 
mermoor," and  the  scene  is  laid  in  Scotland,  time, 
about  1669. 

Sir  Henry  Ashton,  of  Lammermoor,  brother  of 
Lucy,  the  heroine,  has  arranged  a  marriage  between 
her  and  Lord  Arthur  Bucklaw,  in  order  to  recover 
the  fortune  which  he  has  dissipated,  and  to  save 
himself  from  political  peril  he  has  incurred  by  his 
participation  in  movements  against  the  reigning 
dynasty.  Sir  Edgar  Ravenswood,  with  whom  he  is 
at  enmity,  is  deeply  attached  to  Lucy,  who  recip- 
rocates his  love,  and  on  the  eve  of  his  departure 
on  an  embassy  to  France  pledges  herself  to  him. 


LUCIA   DI  LAMMERMOOR.  87 

During  his  absence  Edgar's  letters  are  intercepted 
by  her  brother,  who  hints  to  her  of  his  infidelity, 
and  finally  shows  her  a  forged  paper  which  she 
accepts  as  the  proof  that  he  is  untrue.  Overcome 
with  grief  at  her  lover's  supposed  unfaithfulness, 
and  yielding  to  the  pressure  of  her  brother's  neces- 
sities, she  at  last  consents  to  her  union  with  Lord 
Arthur.  The  marriage  contract  is  signed  with 
great  ceremony,  and  just  as  she  has  placed  her 
name  to  the  fatal  paper,  Edgar  suddenly  appears. 
Learning  from  Lucy  what  she  has  done,  he  tramples 
the  contract  under  foot,  hurls  an  imprecation  upon 
the  house  of  Lammermoor,  and  bursts  out  of  the 
room  in  a  terrible  rage.  Sir  Henry  follows  him, 
and  a  fierce  quarrel  ensues,  which  ends  in  a  chal- 
lenge. Meanwhile,  at  night,  after  the  newly  wedded 
couple  have  retired,  a  noise  is  heard  in  their  apart- 
ment. The  attendants  rush  in  and  find  Lord  Arthur 
dying  from  wounds  inflicted  by  Lucy,  whose  grief 
has  made  her  insane.  When  she  returns  to  reason, 
the  thought  of  what  she  has  done  and  the  horror 
of  her  situation  overcome  her,  and  shortly  death 
puts  an  end  to  her  wretchedness.  Ignorant  of  her 
fate,  Edgar  goes  to  the  churchyard  of  Ravenswood, 
which  has  been  selected  as  the  rendezvous  for  the 
duel  with  Sir  Henry.  While  impatiently  waiting  his 
appearance,  the  bell  of  the  castle  tolls,  and  some  of 
the  attendants  accosting  him  bring  the  news  of  her 
death.  The  despairing  lover  kills  himself  among 
the  graves  of  his  ancestors,  and  the  sombre  story 
ends. 


88  THE  STANDARD   OPERAS. 

The  popular  verdict  has  stamped  "  Lucia "  as 
Donizetti's  masterpiece,  and  if  the  consensus  of 
musicians  could  be  obtained,  it  would  unquestion- 
ably confirm  the  verdict.  It  contains  incomparably 
the  grandest  of  his  arias  for  tenor,  the  Tomb  song 
in  the  last  act,  and  one  of  the  finest  dramatic  con- 
certed numbers,  the  sextet  in  the  second  act,  that 
can  be  found  in  any  Italian  opera.  Like  the  quar- 
tet in  "  Rigoletto,"  it  stands  out  in  such  bold  relief, 
and  is  so  thoroughly  original  and  spontaneous,  that 
it  may  be  classed  as  an  inspiration.  The  music 
throughout  is  of  the  most  sombre  character.  It 
does  not  contain  a  joyous  phrase.  And  yet  it  can 
never  be  charged  with  monotony.  Every  aria, 
though  its  tone  is  serious  and  more  often  melan- 
choly, has  its  own  characteristics,  and  the  climaxes 
are  worked  up  with  great  power.  In  the  first  act, 
for  instance,  the  contrasts  are  very  marked  between 
Henry's  aria  ("  Cruda,  funesta  smania  "),  the  chorus 
of  hunters  ("  Come  vinti  da  stanchezza  "),  Henry's 
second  aria  ("  La  pietade  in  suo  favore  "),  in  which 
he  threatens  vengeance  upon  Edgar,  the  dramatic 
and  beautifully  written  arias  for  Lucy,  "Regnava 
nel  silenzio  "  and  "  Quando  rapita  in  estasi,"  and 
the  passionate  farewell  duet  between  Lucy  and 
Edgar,  which  is  the  very  ecstasy  of  commingled 
love  and  sorrow.  The  second  act  contains  a  power- 
ful duet  ("  Le  tradirmi  tu  potrai ")  between  Lucy 
and  Henry;  but  the  musical  interest  of  the  act 
centres  in  the  great  sextet,  "  Chi  mi  frena,"  which 
ensues  when  Edgar  makes  his  unexpected  appear- 


V 

L'  ELISIR  &  AMORE.  89 

ance  upon  the  scene  of  the  marriage  contract.  For 
beauty,  power,  richness  of  melody  and  dramatic 
expression,  few  concerted  numbers  by  any  com- 
poser can  rival  it.  The  last  act  also  contains  two 
numbers  which  are  always  the  delight  of  great 
artists,  —  the  mad  song  of  Lucy,  "  Oh,  gioja  che  si 
senti,"  and  the  magnificent  tomb  scena,  "Tomba 
degl'  avi  miei,"  which  affords  even  the  most  accom- 
plished tenor  ample  scope  for  his  highest  powers. 


f/  CHtsiir  V  llmore. 

"  L'  Elisir  d'  Amore,"  an  opera  buffa  in  two  acts, 
words  by  Romani,  was  first  produced  in  Milan,  in 
1832,  and  in  English,  at  Drury  Lane,  in  1839,  as 
"The  Love  Spell."  The  heroine  of  this  graceful 
little  opera  is  Adina,  a  capricious  country  girl,  who 
is  loved  by  Nemorino,  a  young  farmer,  whose  uncle 
lies  at  the  point  of  death,  and  by  Belcore,  a  ser- 
geant, whose  troops  are  billeted  upon  the  neighbor- 
ing village.  While  Adina  keeps  both  these  suitors 
in  suspense,  Dr.  Dulcamara,  a  travelling  quack,  ar- 
rives at  the  village  in  great  state  to  vend  his  nos- 
trums. Nemorino  applies  to  him  for  a  bottle  of 
the  Elixir  of  Love,  —  with  the  magical  properties 
of  which  he  has  become  acquainted  in  a  romance 
Adina  has  been  reading  that  very  morning.  The 
mountebank,  of  course,  has  no  such  liquid,  but  he 
passes  off  on  the  simple  peasant  a  bottle  of  wine, 
and  assures  him  that  if  he  drinks  of  it  he  can  com- 


9o  THE  STANDARD   OPERAS. 

mand  the  love  of  any  one  on  the  morrow.  To 
thoroughly  test  its  efficacy,  Nemorino  drinks  the 
whole  of  it.  When  he  encounters  Adina  he  is  half 
tipsy,  and  accosts  her  in  such  disrespectful  style 
that  she  becomes  enraged,  and  determines  to  give 
her  hand  to  the  sergeant,  and  promises  to  marry  him 
in  a  week.  Meanwhile  an  order  comes  for  the 
departure  of  the  sergeant's  detachment,  and  he 
begs  her  to  marry  him  the  same  day.  She  gives  her 
consent,  and  the  second  act  opens  with  the  assem- 
bling of  the  villagers  to  witness  the  signing  of  the 
marriage  contract.  While  the  sergeant,  Adina,  and 
the  notary  have  retired  to  sign  and  witness  the 
contract,  Nemorino  enters  in  despair,  and  finding 
Dulcamara  enjoying  a  repast,  he  implores  him  to 
give  him  some  charm  that  will  make  Adina  love 
him  at  once.  Having  no  money,  the  quack  refuses 
to  assist  him,  and  Nemorino  is  again  plunged  into 
despair.  At  this  juncture  the  sergeant  enters,  not 
in  the  best  of  humor,  for  Adina  has  declined  to  sign 
the  contract  until  evening.  Discovering  that  Nemo- 
rino wants  money,  he  urges  him  to  enlist.  The 
bonus  of  twenty  crowns  is  a  temptation.  Nemorino 
enlists,  takes  the  money,  hurries  to  the  quack,  and 
obtains  a  second  bottle  of  the  elixir,  which  is  much 
more  powerful  than  the  first.  In  the  next  scene 
the  girls  of  the  village  have  discovered  that  Nemo- 
rino's  uncle  has  died  and  left  him  all  the  property, 
though  Nemorino  himself  has  not  heard  of  it.  They 
crowd  about  him,  trying  to  attract  his  attention  with 
their  charms  and  blandishments.  He  attributes  his 


V  ELISIR  &  A  MOKE.  gi 

sudden  popularity  to  the  effects  of  the  elixir,  and 
even  the  quack  is  somewhat  bewildered  at  the 
remarkable  change.  Nemorino  now  determines  to 
pay  Adina  off  in  kind,  and  at  last  rouses  her  jeal- 
'ousy.  Meanwhile  Dulcamara  acquaints  her  with 
the  effects  of  the  elixir  and  advises  her  to  try 
some  of  it,  and  during  the  interview  inadvertently 
informs  her  of  Nemorino's  attachment  for  her. 
Struck  with  his  devotion,  she  repays  the  sergeant 
herself,  announces  her  change  of  mind,  and  bestows 
her  hand  upon  the  faithful  Nemorino.  Like  "  Don 
Pasquale,"  the  opera  is  exceedingly  graceful  in  its 
construction,  and  very  bright  and  gay  in  its  musical 
effects,  particularly  in  the  duets,  of  which  there  are 
two,  —  one  between  Dulcamara  and  Nemorino  in 
the  first  act  ("  Obbligato,  ah  !  si  obbligato  "),  and  one 
between  Dulcamara  and  Adina  in  the  second  act 
("Quanto  amore  !  ed  io  spietata"),  which  are 
charming  in  their  spirit  and  humor.  There  is  also 
an  admirable  buffo  song  in  the  first  act,  beginning 
with  the  recitative,  "  Udite,  udite,  o  rustici,"  in  which 
the  Doctor  describes  his  wares  to  the  rustics,  and 
a  beautiful  romanza  in  the  second  act  for  tenor 
("Una  furtiva  lagrima"),  which  is  of  world-wide 
popularity,  and  bears  the  same  relation  to  the  gen- 
eral setting  of  the  work  that  the  Serenade  does  to 
"Don  Pasquale." 


THE  STANDARD   OPERAS. 


92 


"  Lucrezia  Borgia,"  an  opera  in  three  acts,  words 
by  Romani,  was  first  produced  at  La  Scala,  Milan, 
in  1834.  The  subject  was  taken  from  Victor  Hugo's 
tragedy  of  the  same  name,  and  its  text  was  freely 
adapted  by  Romani.  When  it  was  produced  in 
Paris,  in  1840,  Victor  Hugo  took  steps  to  suppress 
any  further  representations.  The  libretto  was  then 
rewritten,  under  the  title  of  "  La  Rinegata,"  the 
Italian  characters  were  changed  to  Turks,  and  in 
this  mutilated  form  the  performances  were  resumed. 
It  was  in  this  opera  that  Signor  Mario  made  his 
English  de"but,  in  1839,  with  great  success.  Its  first 
presentation  in  English  was  at  London,  Dec.  30, 
1843. 

The  history  of  Lucrezia  Borgia,  daughter  of  Ro- 
drigo  Borgia,  afterwards  Pope  Alexander  VI.,  and 
sister  of  Caesar  Borgia,  is  too  well  known  to  need 
recapitulation.  It  is  necessary  to  the  comprehen- 
sion of  the  story  of  the  opera,  however,  to  state 
that  she  had  an  illegitimate  son,  named  Genarro, 
who  was  left  when  an  infant  with  a  fisherman,  but 
who  subsequently  entered  the  Venetian  army  and 
rose  to  an  eminent  rank.  The  opera  opens  with 
a  brilliant  festival  in  the  gardens  of  the  Barberigo 
Palace,  which  is  attended  by  Genarro,  Orsini,  and 
others,  all  of  them  cordial  haters  of  the  detestable 
Borgias.  While  they  are  telling  tales  of  Lucrezia's 
cruel  deeds,  Genarro  lies  down  and  goes  to  sleep,  and 


LUCREZIA   BORGIA.  93 

Orsini  in  a  spirited  aria  ("  Nelle  fatal  di  Rimini ") 
relates  to  his  companions  the  story  of  Genarro's 
gallantry  at  the  battle  of  Rimini.  As  they  leave, 
Lucrezia  approaches,  masked,  in  a  gondola,  and  is 
received  by  Gubetta,  with  whom  she  has  come  to 
Venice  on  some  secret  errand.  She  discovers  Ge- 
narro asleep,  and  expresses  her  delight  at  his  beauty, 
and  at  the  same  time  her  maternal  love,  in  a  brilliant 
aria  ("  Com'  e  bello  ") .  As  she  kisses  his  hand  he 
wakes,  and  in  the  duet  which  follows  tells  her  the 
story  of  his  early  life  in  an  exquisite  romanza  ("  Di 
pescatore  ignobile "),  which  is  one  of  the  most 
familiar  numbers  in  Italian  opera.  He  begs  her  to 
reveal  her  name,  but  she  refuses.  As  he  continues 
to  implore  her,  his  friends  return  and  denounce  her 
to  Genarro  as  the  hated  Borgia,  in  a  concerted 
number  ("Chi  siam  noi  sol  chiarirla")  of  great 
dramatic  power,  which  closes  the  first  act. 

The  second  act  opens  in  the  public  square  of 
Ferrara,  with  the  palace  of  the  Borgias  on  the  right. 
The  Duke  Alphonso,  Lucrezia's  husband,  who  has 
been  observant  of  Lucrezia's  attachment  to  Genarro, 
vows  vengeance  in  a  passionate  aria  ("  Vieni  la  mia 
vendetta").  In  the  next  scene  Genarro,  who  has 
been  taunted  by  his  friends  with  being  a  victim  of 
Lucrezia's  fascinations,  recklessly  rushes  up  to  the 
palace  door  and  strikes  off  the  first  letter  of  her 
name  with  his  dagger.  When  Lucrezia  discovers 
the  insult,  she  demands  of  the  Duke  that  the  guilty 
person  shall  be  arrested  and  condemned  to  death. 
The  Duke  has  already  seized  Genarro,  and  agrees 


94 


THE  STANDARD   OPERAS. 


to  carry  out  his  wife's  demands.  When  the  pris- 
oner is  brought  before  them  for  judgment,  she  is 
horror-stricken  to  find  he  is  her  son.  She  implores 
his  life,  but  the  infuriated  Duke  retaliates  upon  her 
with  the  declaration  that  she  is  his  paramour.  The 
duet  between  them  ("  O  !  a  te  bada "),  in  which 
Lucrezia  passes  from  humble  entreaties  to  rage  and 
menace,  is  a  fine  instance  of  Donizetti's  dramatic 
power.  The  Duke,  however,  is  resolute  in  his 
determination,  and  will  only  allow  her  to  choose 
the  mode  of  Genarro's  death.  She  selects  the 
Borgia  wine,  which  is  poisoned.  Genarro  is  called 
in,  and  after  a  trio  ("  Le  ti  tradisce  "),  which  is  one 
of  the  strongest  numbers  in  the  opera,  he  is  given 
the  fatal  draught  under  the  pretence  of  a  farewell 
greeting  from  the  Duke,  who  then  leaves  mother 
and  son  together.  She  gives  him  an  antidote,  and 
he  is  thus  saved  from  the  fate  which  the  Duke  had 
intended  for  him. 

The  last  act  opens  at  a  banquet  in  the  palace  of 
the  Princess  Negroni,  which  is  attended  by  Genarro 
and  his  friends,  Lucrezia,  meanwhile,  supposing 
that  he  has  gone  to  Venice.  During  the  repast  she 
has  managed  to  poison  their  wine.  In  the  midst 
of  the  gay  revel  Orsini  sings  the  popular  drinking- 
song,  "  II  segreto  per  esser  felici,"  which  is  now- 
familiar  the  world  over.  The  festivities  are  inter- 
rupted, however,  by  the  appearance  of  Lucrezia, 
who  reveals  herself  with  the  taunting  declaration : 
"  Yes,  I  am  Borgia.  A  mournful  dance  ye  gave 
me  in  Venice,  and  I  return  ye  a  supper  in  Ferrara." 


LUCREZIA   BORGIA. 


95 


She  then  announces  that  they  are  poisoned.  The 
music  is  changed  with  great  skill  from  the  wild 
revelry  of  drinking-songs  to  the  sombre  strains  of 
approaching  death.  Five  coffins  are  shown  them, 
when  Genarro  suddenly  reveals  himself  to  Lucrezia 
and  asks  for  the  sixth.  The  horror-stricken  woman 
again  perceives  that  her  son  has  been  poispned  by 
her  own  hand.  As  his  companions  leave  the  apart- 
ment she  implores  Genarro  to  take  the  antidote 
once  more,  and  at  last  reveals  herself  as  his  mother. 
He  steadily  refuses  to  save  himself,  however,  since 
his  companions  have  to  die,  and  expires  in  her 
arms  just  as  the  Duke  and  his  followers  enter.  She 
discloses  Genarro's  relationship,  and  then  dies  with 
the  despairing  cry  on  her  lips  that  Heaven  has 
pronounced  its  final  judgment  upon  her.  Among  all 
of  Donizetti's  operas,  not  one,  unless  it  be  "  Lucia," 
is  more  popular  than  "  Lucrezia  Borgia,"  which 
may  be  attributed  to  the  fact  that  while  the  story 
itself  is  one  of  fascinating  dramatic  interest,  the  mu- 
sical numbers  are  simple,  beautiful,  and  effective. 


FLOTOW. 

IRIEDRICH  VON  FLOTOW  was  bom 

April  27,  1812,  in  the  duchy  of  Mecklen- 
berg-Schwerin,  and  in  1827  went  to  Paris, 
where  he  studied  music  under  Reicha. 
His  first  work  was  "  Stradella,"  a  mere  sketch  in  its 
original  form,  which  was  brought  out  at  the  Palais 
Royal  in  1837;  but  his  first  public  success  was 
made  in  1839,  with  his  opera,  "Le  Naufrage  de 
la  Me'duse,"  which  had  a  run,  and  was  afterwards 
produced  in  Germany  under  the  title  of  "  Die 
Matrosen."  "  L'Esclave  de  Camoens  "  appeared  in 
Paris  in  1843;  "Stradella,"  rewritten  as  an  opera, 
in  Hamburg  (1844)  '>  "  L'Ame  en  peine,"  in  Paris 
(1846)  ;  "  Martha,"  in  Vienna  (1847).  The  works 
of  his  later  period,  which  never  equalled  his  earlier 
ones  in  popularity,  were  "  Die  Grossfiirstin  "  (1850)  ; 
"Indra  "  (1853) ;  "  Rubezahl  "  (1854) ;  "  Hilda  " 
(1855);  "Der  Muller  von  Meran  "  (1856);  "La 
Veuve  Grapin  "  (1859);  "  L'Ombre  "  (1869); 
"Naida"  (1873);  "II  Flor  d1  Harlem  "  (1876); 
and  "  Enchanteresse  "  (1878).  Of  these  later 


FLOTOW.  97 

works,  "  L'Ombre  "  was  the  most  successful,  and 
was  received  with  favor  in  France,  Italy,  Spain, 
and  England,  in  which  latter  country  it  was  per- 
formed under  the  title  of  "The  Phantom."  In 
1856  he  received  the  appointment  of  Intendant 
of  the  theatre  of  the  Grand  Duke  of  Mecklenberg, 
and  he  entered  upon  his  duties  with  high  hopes 
of  making  the  theatre  exercise  the  same  influence 
upon  music  in  Germany  as  the  Weirnar  stage ;  but 
court  intrigues  and  rivalries  of  artists  so  disgusted 
him  that  he  resigned  in  1863  and  went  to  Paris, 
and  a  few  years  later  to  Vienna,  where  he  took  up 
his  abode.  Outside  of  a  few  of  his  operas  his 
works  are  little  known,  though  he  composed  a 
"  Fackeltanz,"  some  incidental  music  to  the  "  Win- 
ter's Tale "  of  Shakspeare,  and  several  overtures, 
songs,  and  chamber-pieces.  An  interesting  episode 
in  his  career  occurred  in  1838,  when  he  brought 
out  an  opera  in  three  acts,  the  "  Due  de  Guise,"  at 
the  Theatre  de  la  Renaissance,  the  libretto  based 
upon  Dumas's  "  Henri  III."  The  performance  was 
organized  by  the  Princess  Czartoryska,  for  the  ben- 
efit of  the  Poles.  Mme.  de  Lagrange  made  her 
ddbut  in  a  leading  part,  and  the  parts  of  the  chor- 
isters were  filled  by  duchesses  and  princesses  of 
the  Faubourg  St.  Germain,  upon  whose  persons  two 
million  dollars  worth  of  diamonds  were  blazing,  — 
sufficient  evidence  that  the  performance  was  bril- 
liant in  at  least  one  sense.  He  died  at  Wiesbaden, 
Jan.  24,  1883. 

7 


98  THE    STANDARD    OPERAS. 


"  Martha,"  an  opera  in  three  acts,  libretto  by 
St.  Georges,  translated  into  German  by  Fried- 
rich,  was  first  produced  at  Vienna,  Nov.  25,  1847, 
with  Mile.  Anna  Zerr  in  the  title-role,  Herr  Ander  as 
Lionel,  and  Carl  Formes  as  Plunkett.  It  was  first 
produced  in  English  and  Italian  at  London  in  1858, 
and  in  French  at  Paris  in  1865.  The  history  of  its 
origin  is  interesting.  M.  de  St.  Georges,  at  the 
request  of  the  manager  of  the  Paris  Grand  Opera, 
wrote  in  1842  the  libretto  to  a  ballet  entitled  "Lady 
Henrietta,  or  the  Servant  of  Greenwich,"  the  sub- 
ject being  suggested  to  him  by  the  adventures  of 
two  ladies  of  his  acquaintance  who  had  mingled 
with  servants  at  a  fair.  The  music  was  confided  to 
three  composers.  The  first  act  was  given  to  Herr 
von  Flotow,  the  second  to  Herr  Burgmuller,  and 
the  third  to  M.  Deldeves.  The  ballet  had  such 
a  remarkable  success,  and  Flotow  was  so  delighted 
with  the  plot,  that  he  entreated  St.  Georges  to 
rewrite  it  for  an  opera.  The  latter  consented,  and 
the  result  of  their  collaboration  was  the  appearance 
of  one  of  the  most  popular  operas  which  has  ever 
been  placed  upon  the  stage. 

The  scene  of  the  opera  is  laid  at  Richmond, 
England,  and  the  time  is  during  the  reign  of  Queen 
Anne,  though  the  Italian  version  places  it  in  the 
fifteenth  century,  and  the  French  in  the  nineteenth. 
Lady  Henrietta,  an  attendant  upon  the  Queen,  tired 


MARTHA. 


99 


of  the  amusements  of  court  life,  contrives  a  plan  to 
visit  the  servants'  fair  at  Richmond  disguised  as  a 
servant-girl,  and  accompanied  by  Nancy,  her  maid, 
and  Sir  Tristan,  her  somewhat  aged  cousin,  who  is 
also  her  devoted  admirer,  (in  the  first  three  scenes 
their  plans  are  laid  much  to  the  disgust  of  Sir 
Tristan,  who  is  to  pass  as  John,  while  his  fair  cousin 
masquerades  as  Martha.  The  duet  between  the 
ladies  ("  Of  the  Knights  so  brave  and  charming  "), 
and  the  trio  with  Tristan,  are  in  dance  time,  and 
full  of  animation^  (The  fourth  scene  opens  in  the 
market-place  at  "Richmond,  where  the  people  are 
gathering  to  the  fair.  Thither  also  resort  Plunkett, 
a  farmer,  and  Lionel,  his  brother  by  adoption,  whose 
parentage  is  unknown,  and  who  has  no  souvenir  of 
his  father  except  a  ring  which  has  been  left  for 
him,  with  instructions  to  present  it  to  the  Queen  if 
he  ever  finds  himself  in  trouble.  Lionel  tells  his 
story  in  an  aria  ("  Lost,  proscribed,  an  humble 
Stranger")  which  is  universally  popular,  and  the 
melody  of  which  has  been  set  to  various  words. 
They  have  come  to  the  fair  to  procure  help  for  their 
farm.  While  the  sheriff,  according  to  law,  is  bind- 
ing the  girls  for  a  year's  service,  Plunkett  and  Lionel 
meet  Martha  and  Nancy,  and  are  so  delighted  with 
their  appearance  that  they  tender  them  the  cus- 
tomary bonus,  or  "earnest-money,"  which  secures 
them.  Too  late  for  escape,  they  find  that  they  are 
actually  engaged,  and  they  are  obliged  to  drive  away 
with  the  young  farmers,  leaving  Sir  Tristan  in 
despair.] 


I0o  THE    STANDARD    OPERAS. 

((The  second  act  opens  in  the  farm-house,  where 
the  four  have  arrived.  The  farmers  inquire  their 
names,  and  seek  to  find  out  what  they  can  do,  test- 
ing them  first  at  the  spinning-wheel.  The  spinning 
quartet  ("  When  the  Foot  the  Wheel  turns  lightly  ") 
is  very  gay  and  full  of  humor,  and  is  one  of  the 
most  delightful  concerted  numbers  in  the  opera. 
The  brothers  soon  find  that  their  new  servants  are 
useless,  but  they  are  so  pleased  with  them  that 
they  decide  to  keep  them.  At  last  Nancy,  in  a 
pet,  kicks  her  wheel  over  and  runs  off,  followed  by 
Plunkett.  Lionel,  left  alone  with  Martha,  grows 
very  tender  to  the  new  servant,  and  at  last  finds 
himself  violently  in  love.  He  snatches  a  rose  from 
her  bosom,  and  refuses  to  return  it  unless  she  will 
consent  to  sing.  She  replies  with  the  familiar  bal- 
lad, "  'T  is  the  last  Rose  of  Summer,"  which  Flo- 
tow  has  interpolated  in  this  scene,  and  in  the  per- 
formance of  which  he  makes  a  charming  effect  by 
introducing  the  tenor  in  the  close.  Her  singing 
only  makes  him  the  more  desperately  enamoured, 
and  he  asks  her  to  be  his  wife  on  the  spot,  only  to 
find  himself  the  victim  of  Martha's  sport,  although 
his  devotion  and  sincerity  have  made  a  deep  im- 
pression upon  her.  Plunkett  and  Nancy  at  last 
return,  and  another  charming  quartet  follows  ("  Mid- 
night sounds  "),  better  known  as  the  "  Good  Night 
Quartet."  The  two  brothers  retire,  but  Martha  and 
Nancy,  aided  by  Tristan,  who  has  followed  them 
and  discovered  their  whereabouts,  make  good  their 
escape.)  The  next  scene  opens  in  the  woods,  where 


MARTHA.  ioi 

several  farmers  are  drinking  and  carousing,  among 
them  Plunkett,  who  sings  a  rollicking  drinking-song 
("  I  want  to  ask  you  ").  Their  sport  is  interrupted 
by  a  hunting-party,  composed  of  the  Queen  and 
her  court  ladies.  Plunkett  and  Lionel  recognize 
their  fugitive  servants  among  them,  though  the 
ladies  disclaim  all  knowledge  of  them.  Plunkett 
attempts  to  seize  Nancy,  but  the  huntresses  attack 
him  and  chase  him  away,  leaving  Lionel  and  Lady 
Henrietta  together  again.  The  scene  contains  two 
of  the  most  beautiful  numbers  in  the  opera,  — 
the  tenor  solo,  "  Like  a  Dream  bright  and  fair  " 
("  M'  appari "  in  the  Italian  version),  and  a  romance 
for  soprano  ("  Here  in  deepest  forest  Shadows  ")  ; 
and  the  act  closes  with  a  beautiful  concerted  finale, 
quintet  and  chorus,  which  is  worked  up  with  great 
power.  In  this  finale  the  despairing  Lionel  be- 
thinks him  of  his  ring.  He  gives  it  to  Plunkett, 
desiring  him  to  present  it  to  the  Queen.  By  means 
of  the  jewel  it  is  discovered  that  he  is  the  only  son 
of  the  late  Earl  of  Derby,  and  she  orders  his  es- 
tates, of  which  he  has  been  unjustly  deprived,  to  be 
restored  to  him.'-' 

f(The  last  act  is  not  important  in  a  musical  sense, 
for  the  climax  is  attained  in  the  previous  finale.  The 
dramatic  denouement  is  soon  reached,  and  the  Lady 
Henrietta,  who  has  for  some  time  been  seriously  in 
love  with  Lionel,  is  at  last  united  to  him ;  and  it  is 
almost  needless  to  add  that  the  fortunes  of  Plunkett 
and  Nancy  are  also  joined.}}  The  charm  of  "  Mar- 
tha" is  its  liveliness  in  action  and  tunefulness  in 


102  THE    STANDARD    OPERAS. 

music.  Though  not  a  great  opera  from  a  musical 
point  of  view,  it  is  one  of  the  most  popular  in  the 
modern  repertory,  and  though  few  others  have  been 
performed  so  many  times,  it  still  retains  that  popu- 
larity. Its  melodies,  though  sung  in  every  country 
of  the  civilized  world  by  amateurs  and  professional 
artists,  have  not  yet  lost  their  charms. 


"  Stradella,"  a  romantic  opera  in  three  acts,  was 
first  written  as  a  lyric  drama  and  produced  at  the 
Palais  Royal  Theatre,  Paris,  in  1 83  7,  and  was  sub- 
sequently rewritten  in  its  present  form  under  the 
title  of  "  Alessandro  Stradella "  and  produced  at 
Hamburg,  Dec.  30,  1844.  The  English  version, 
which  was  somewhat  altered  by  Bunn,  was  pro- 
duced in  London,  June  6,  1846.  The  story  follows 
the  historic  narrative  of  Stradella,  the  Italian  musi- 
cian, except  in  the  de'nouement  Stradella  woos 
and  wins  Leonora,  the  fair  ward  of  Bassi,  a  rich 
Venetian  nobleman,  with  whom  the  latter  is  him- 
self in  love.  They  fly  to  Rome  and  are  married. 
Bassi  hires  two  bravoes,  Barbarino  and  Malvolio, 
to  follow  them  and  kill  Stradella.  They  track  him 
to  his  house,  and  while  the  bridal  party  are  absent 
enter  and  conceal  themselves,  Bassi  being  with 
them.  Upon  this  occasion,  however,  they  do  not 
wait  to  accomplish  their  purpose.  Subsequently 
they  gain  admission  again  in  the  guise  of  pilgrims, 


STRADELLA. 


103 


and  are  hospitably  received  by  Stradella.  In  the 
next  scene  Stradella,  Leonora,  and  the  two  bravoes 
are  together  in  the  same  apartment,  singing  the 
praises  of  their  native  Italy.  During  their  laudations 
the  chorus  of  a  band  of  pilgrims  on  their  way  to  the 
shrine  of  the  Virgin  is  heard,  and  Leonora  and 
Stradella  go  out  to  greet  them.  The  bravoes  have 
been  so  moved  by  Stradella's  singing  that  they  hesi- 
tate in  their  purpose.  Bassi  enters  and  upbraids 
them,  and  finally,  by  the  proffer  of  a  still  larger 
sum,  induces  them  to  consent  to  carry  out  his  de- 
sign. They  conceal  themselves.  Stradella  returns 
and  rehearses  a  hymn  to  the  Virgin  which  he  is  to 
sing  at  the  festivities  on  the  morrow.  Its  exquisite 
beauty  touches  them  so  deeply  that  they  rush  out 
of  their  hiding-place,  and  falling  at  his  feet  confess 
the  object  of  their  visit  and  implore  his  forgiveness. 
Leonora  enters,  and  is  astonished  to  find  her 
guardian  present.  Explanations  follow,  a  reconcil- 
iation is  effected,  and  the  lovers  are  happy.  The 
denouement  differs  from  the  historical  story,  which, 
according  to  Bonnet,  Bourdelot,  and  others,  ends 
with  the  death  of  the  lovers  at  Genoa,  at  the  hands 
of  the  hired  assassins. 

The  opera  is  one  of  the  most  charming  of  Flo- 
tow's  works  for  its  apt  union  of  very  melodious 
music  with  dramatic  interest.  Its  most  beautiful 
numbers  are  Stradella's  serenade  ("  Horch,  Lieb- 
chen,  horch  !  "),  the  following  nocturne  ("  Durch 
die  Thaler,  liber  Hiigel  "),  the  brilliant  and  animated 
carnival  chorus  ("  Freudesausen,  Jubelbrausen  ")  of 


104      THE  STANDARD  OPERAS. 

the  masqueraders  who  assist  in  the  elopement,  in 
the  first  act;  the  aria  of  Leonora  in  her  bridal 
chamber  ("  Seid  meiner  Wonne  "),  the  rollicking 
drinking-song  of  the  two  bravoes  ("  'Raus  mit  dem 
Nass  aus  dem  Fass ")  and  the  bandit  ballad 
("  Tief  in  den  Abruzzen  ")  sung  by  Stradella,  in 
the  second  act ;  an  exquisite  terzetto  ("  Sag  doch 
an,  Freund  Barbarino  ")  sung  by  Bassi  and  the  two 
bravoes  when  they  hesitate  to  perform  their  work, 
and  Stradella's  lovely  hymn  to  the  Virgin  ("  Jung- 
frau  Maria !  Himmlisch  verklarte "),  in  the  last 
act. 


CLUCK. 


jjHRISTOPH  WILLIBALD  GLUCK,  one 
of  the  most  eminent  of  German  operatic 
composers,  was  born  at  Weidemvang 
in  the  Upper  Palatinate,  July  2,  1714. 
He  began  his  musical  studies  in  a  Bohemian 
Jesuits'  School  at  the  age  of  twelve.  In  his  eigh- 
teenth year  he  went  to  Prague,  where  he  continued 
his  education  with  Czernhorsky.  Four  years  later 
he  was  fortunate  enough  to  secure  Prince  Melzi  for 
a  patron,  who  sent  him  to  Milan,  where  he  com- 
pleted his  studies  with  Sammartini.  From  1741  to 
1745  he  produced  numerous  Operas,  which  were 
well  received,  and  in  the  latter  year  visited  London, 
where  he  brought  out  several  works,  among  them 
"  La  Caduta  de'  Giganti."  His  English  experience 
was  far  from  satisfactory,  and  he  soon  returned  to 
Germany,  stopping  at  Paris  on  the  way,  where 
Rameau's  operas  had  a  strong  influence  upon  him. 
From  1746  to  1762  he  wrote  a  large  number  of 
operas,  with  varying  success  so  far  as  performance 
was  concerned,  but  with  great  and  lasting  benefit 


lo6  THE  STANDARD   OPERAS. 

to  his  style  and  fame,  as  was  shown  when  his 
"Orpheus"  was  first  produced,  Oct.  5,  1762.  Its 
success  determined  him  at  once  to  acquaint  the 
musical  world  with  his  purpose  to  reform  the  opera 
by  making  it  dramatically  musical  instead  of  purely 
lyric,  thus  paving  the  way  for  the  great  innovator  of 
Baireuth.  "Alceste,"  produced  in  1767,  was  the 
first  embodiment  of  these  ideas.  Strong  criticism 
greeted  it,  to  which  he  replied  with  "  Iphigdnie  en 
Aulide,"  written  in  1772,  and  performed  for  the  first 
time  in  Paris  two  years  later,  under  the  auspices  of 
Marie  Antoinette,  who  had  once  been  his  pupil.  It 
was  followed  by  "  Orpheus  and  Eurydice,"  adapted 
from  his  earlier  work  of  the  same  name,  which  met 
with  brilliant  success.  In  1777  he  brought  out 
"  Armide."  It  aroused  an  unprecedented  excite- 
ment. Piccini  was  at  that  time  in  Paris.  He  was 
the  representative  of  the  old  Italian  school.  His 
partisans  '  gathered  about  him,  and  a  furious  war 
was  waged  between  the  Gluckists  and  Piccinists  for 
three  or  four  years ;  the  combatants  displaying  a 
bitterness  of  criticism  and  invective  even  worse 
than  that  which  Wagner  brought  down  upon  his 
devoted  head.  When  Gluck  brought  out  his  great 
work,  "  Iphige'nie  en  Tauride,"  in  1779,  however, 
the  Piccinists  quitted  the  field  and  acknowledged 
the  reformer's  superiority.  "Echo  et  Narcisse  "  was 
written  in  the  same  year,  but  "  Iphige'nie  en  Tau- 
ride "  was  his  last  great  work.  He  retired  shortly 
afterwards  to  Vienna,  where  he  died  Nov.  15, 
1787. 


ORPHEUS, 


©rphett*, 

"Orpheus,"  the  libretto  by  the  Italian  poet 
Calzabigi,  was  first  produced  at  Vienna,  Oct.  5, 
1762,  and  for  the  first  time  outlined  the  new  ideas 
which  Gluck  had  advanced  for  the  reform  of  the 
lyric  stage.  Twelve  years  later  the  composer  re- 
vised the  work.  Several  new  numbers  were  added, 
its  acts  were  extended  to  three,  and  the  principal 
role  was  rewritten  for  a  high  tenor  in  place  of  the 
alto,  to  whom  it  had  been  originally  assigned.  In 
this  form  it  was  brought  out  at  the  Paris  Academic, 
Aug.  2,  1774.  In  1859  it  was  revived  in  Paris, 
for  which  occasion  Berlioz  restored  the  original  alto 
part  for  Mme.  Viardot-Garcia.  With  its  perform- 
ances in  this;-country  by  the  American  Opera  Troupe 
during  the  .'season  of  1885-86,  under  the  direction 
of  Mr.  Theodore  Thomas,  our  readers  are  already 
familiar.  The  three  soloists  during  that  season 
were  Helene  Hastreiter,  Emma  Juch,  and  Minnie 
Dilthey. 

The  story,  except  in  its  denouement,  closely  fol- 
lows the  antique  legend.  After  performing  the 
funeral  rites  of  Eurydice,  Orpheus  resolves  to  seek 
for  her  hv'.the  world  of  Shades,  having  received  per- 
mission f^BJfe&us^JijJpon  condition  that  he  will  not 
look  upon^er -•ti'ntil  they  have  safely  returned. 
Orpheus  descends  to  Hades ;  and  though  his  way  is 
barred  by  phantoms,  his  pleading  appeals  and  the 
tender  tones  of  his  harp  induce  them  to  make  way 


lo8  THE  STANDARD   OPERAS. 

for  him.  He  finds  Eurydice  in  the  Elysian  fields, 
and  taking  her  by  the  hand  leads  her  on  to  the 
upper  world.  In  a  fatal  moment  he  yields  to  her 
desire  to  see  him,  and  she  sinks  back  lifeless.  Love, 
however,  comes  to  the  rescue,  and  full  of  compas- 
sion restores  her.  Thus  the  happy  lovers  are  re- 
united ;  and  the  opera  closes  without  the  tragic 
denouement  of  the  old  myth.  In  the  American 
performances  the  opera  was  divided  into  four  acts, 
which  is  the  order  we  shall  follow. 

The  short  overture  is  characterized  by  a  grandeur 
and  solemnity  that  well  befit  the  pathetic  story. 
The  curtain  rises  upon  a  grotto  containing  the  tomb 
of  Eurydice,  against  which  Orpheus  mournfully 
leans,  while  upon  its  steps  youths  and  maidens  are 
strewing  flowers  as  they  chant  the  sombre  song, 
"  Ah  !  in  our  still  and  mournful  Meadow."  The 
sad  wail  of  Orpheus  upon  the  single  word  "  Eu- 
rydice "  is  heard  through  its  strains,  which  continu- 
ally increase  in  solemnity.  At  last,  as  if  too  much 
to  bear,  Orpheus  interrupts  their  threnody  with  the 
words,  "  The  Sounds  of  your  Lament  increase  my 
bitter  Anguish."  The  chorus  in  reply  resumes  its 
melancholy  tribute  to  Eurydice  and  then  retires, 
leaving  Orpheus  alone,  who  in  a  monologue  full  of 
pathos  and  sorrow  ("  My  Eurydice  !  my  Eurydice  ! 
lost  forever"),  sings  his  grief  and  implores  the  gods 
to  restore  his  loved  one.  In  answer  to  his  prayer, 
Amor,  god  of  love,  appears  and  announces  that  the 
gods  have  been  moved  to  compassion ;  and  if  his 
song  and  lyre  can  appease  the  phantoms,  death 


ORPffE*. 


shall  give  back  Eurydice  upon  the  conditions  already 
named.  The  act  closes  with  the  joyful  song  of 
Orpheus :  "  Will  pitying  Heaven  with  wondrous 
Favor  restore  mine  own?" 

The  second  act  opens  in  the  abysses  of  the  un- 
derworld. Flames  shoot  up  amid  great  masses  of 
rock  and  from  yawning  caverns,  throwing  their  lurid 
glare  upon  the  phantoms,  who  writhing  in  furious 
indignation  demand  in  wild  and  threatening  chorus, 
as  the  tones  of  Orpheus's  lyre  are  heard,  "  Who 
through  this  awful  Place,  thinking  alive  to  pass, 
rashly  dares  venture  here?"  Madly  they  call 
upon  Cerberus  "  to  kill  thy  new  Prey  here."  The 
barking  of  the  triple-headed  monster  is  heard  in  the 
tones  of  the  orchestra.  They  surround  Orpheus  as 
he  approaches,  and  with  renewed  clamor  continue 
this  thrilling  chorus.  In  the  midst  of  its  cruel 
intensity  is  heard  the  appealing  voice  of  Orpheus 
("  In  Pity  be  moved  by  my  Grief").  With  over- 
whelming wrath  comes  the  reiterated  monosyllable, 
"No,"  from  the  Furies, — one  of  the  most  daring 
and  powerful  effects  ever  made  in  dramatic  music, 
—  followed  by  another  appalling  chorus,  as  they 
announce  to  him,  "  These  are  the  Depths  of  Hell, 
where  the  Avengers  dwell."  At  last  they  are 
touched  by  the  charm  of  his  music  and  the  sorrow 
of  his  story  ;  and  as  their  fury  dies  away,  the  song  of 
Orpheus  grows  more  exultant  as  he  contemplates 
the  reunion  with  Eurydice. 

The  gates  of  the  lower  world  are  opened,  and  in 
the  third  act  Orpheus  enters  Elysium.  The  scene 


lo8  THE  STANDARD   OPERAS. 

begins  with  a  tender,  lovely  song  by  Eurydice  and 
her  companions  ("  In  this  tranquil  and  lovely  Abode 
of  the  Blest"),  the  melody  taken  by  the  flute  with 
string  accompaniment.  All  is  bright  and  cheerful 
and  in  striking  contrast  with  the  gloom  and  terror 
of  the  Stygian  scene  we  have  just  left.  After  a 
short  recitative  ("  How  mild  a  Day,  without  a 
Noon"),  Orpheus  seeks  her.  She  is  brought  to 
him  by  a  crowd  of  shadows ;  and  breaking  out  in 
joyful  song  he  takes  her  by  the  hand  and  turns  his 
face  to  the  upper  world. 

The  fourth  act  is  almost  entirely  an  impassioned 
duet  between  Orpheus  and  Eurydice.  He  releases 
her  hand  for  fear  that  he  may  turn  and  look  upon 
her.  Eurydice  chides  him  ("  Am  I  changed  or 
grown  old  that  thou  wilt  not  behold  me?").  In 
vain  he  urges  her  to  follow  him.  She  upbraids  him 
for  his  coldness,  and  demands  one  glance  as  a  test 
of  his  love.  He  still  refuses,  and  then  she  sorrow- 
fully bids  him  farewell.  At  last,  overcome  with 
weariness  and  sorrow,  he  gazes  upon  her ;  and  at  that 
instant  she  falls  lifeless.  Then  Orpheus  breaks  out 
in  that  immortal  song,  the  Che  faro  senza  Eurydice 
("  I  have  lost  my  Eurydice  "),  the  beauty  and  pathos 
of  which  neither  time  nor  change  of  musical  custom 
can  ever  mar.  He  is  about  to  take  his  life  with  his 
sword ;  but  Amor  suddenly  appears  upon  the  scene, 
stays  his  hand,  and  tells  him  the  gods  are  moved  by 
his  sufferings.  He  restores  Eurydice  to  life,  and  the 
opera  closes  with  a  beautiful  terzetto  in  Love's  temple. 
The  denouement  is  followed  by  ballet  music. 


GOETZ. 

lERMANN  GOETZ,  to  whose  life  attaches 
a  mournful  interest,  was  born  at  Koe- 
nigsberg,  Dec.  17,  1840.  He  had  no 
regular  instruction  in  music  until  his 
seventeenth  year.  At  that  period  he  began  his 
studies  with  Kohler,  and  then  passed  successively 
under  the  tuition  of  Stern,  Ulrich,  and  Von  Btilow. 
At  the  age  of  twenty-three  he  obtained  a  position  as 
organist  at  Winterthur,  and  also  taught  at  Zurich. 
It  was  during  this  time  that  he  composed  his  opera, 
"  The  Taming  of  the  Shrew,"  meanwhile  supporting 
himself  as  he  best  could,  sometimes  struggling  with 
actual  poverty.  For  years  he  attempted  to  secure 
a  hearing  for  his  opera;  but  it  was  not  until  1874 
that  its  great  merit  was  recognized,  for  in  that  year 
it  was  produced  at  Mannheim  with  instant  success. 
Its  fame  travelled  all  over  Germany.  It  was  per- 
formed in  Vienna  in  1875,  an^  the  same  year  in 
Leipsic  and  Berlin,  and  reached  London  in  18780 
It  was  not  heard  in  this  country  until  the  season  of 
1885-86,  when  it  was  produced  by  the  American 


112  THE  STANDARD   OPERAS. 

Opera  Company.  The  composer  did  not  live  long 
enough,  however,  to  enjoy  the  fruits  of  his  work,  as 
he  died  in  1876.  He  also  left  behind  him  an 
unfinished  score  of  a  second  opera,  "  Francesca  di 
Rimini,"  which  was  completed  by  his  friend  Franke 
at  his  request,  but  proved  a  failure.  His  other  works 
include  a  symphony  in  F,  a  suite  for  orchestra,  and 
many  chamber  compositions. 


Wqt  Naming  of  the  jshreto. 

"The  Taming  of  the  Shrew,"  as  related  in  the 
sketch  of  the  composer's  life,  was  written  about 
the  year  1863,  and  first  produced  at  Mannheim  in 
1872.  Its  first  performance  in  this  country  was  in 
January,  1886,  when  the  cast  was  as  follows  :  — 

KATHARINE PAULINE  L'ALLEMAND. 

BIANCA KATE  BENSBERG. 

PETRUCHIO WILLIAM  H.  LEE. 

BAPTISTA W.  H.  HAMILTON. 

LUCENTIO W.  H.  FESSENDEN. 

HORTENSIO ALONZO  STODDARD. 

A  TAILOR JOHN  HOWSON. 

The  libretto  is  freely  adapted  from  Shakspeare's 
comedy  by  Joseph  Victor  Widmann.  The  plot  is 
very  simple.  Baptista,  a  rich  Paduan  gentleman, 
has  two  daughters,  —  Katharine,  the  shrew,  and  Bi- 
anca,  of  sweet  and  lovable  disposition.  Both  Hor- 
tensio  and  Lucentio  are  in  love  with  Bianca ;  but 
.the  obdurate  father  will  not  listen  to  either  until 


THE    TAMING  OF  THE  SHXEW.         113 

Katharine  shall  have  been  married.  In  this  appar- 
ently hopeless  situation  a  gleam  of  comfort  appears, 
in  the  suit  which  the  rich  gallant  Petruchio,  of 
Verona,  pays  to  Katharine,  in  disgust  with  the 
sycophants  who  have  been  manifesting  such  def- 
erence to  his  wealth.  The  remainder  of  the  story 
is  occupied  with  the  details  of  the  various  processes 
by  which  he  breaks  and  tames  the  shrew,  and  the 
ingenious  ruse  by  which  Lucentio  gains  the  hand 
of  the  lovely  Bianca. 

The  curtain  rises  upon  a  night  scene  in  Padua, 
with  Lucentio  before  Bianca's  house  singing  a 
melodious  serenade.  Its  strains  are  interrupted, 
however,  by  a  hurly-burly  in  the  house,  caused  by 
the  shrew's  demonstrations.  The  tumult  is  trans- 
ferred to  the  street,  and  gives  occasion  for  a  very 
vigorous  ensemble.  When  the  crowd  disperses, 
Lucentio  resumes  his  serenade,  Bianca  appears 
upon  the  balcony,  and  the  two  join  in  a  very 
pleasing  duet.  This  number  is  also  interrupted  by 
Hortensio,  at  the  head  of  a  band  of  street  musicians, 
who  has  also  come  to  serenade  his  mistress.  The 
encounter  of  the  two  lovers  brings  on  a  quarrel, 
which  is  averted,  however,  by  the  interposition  of 
Baptista.  A  duet  follows  between  them,  at  the 
close  of  which  Lucentio  retires.  Petruchio  now 
appears  upon  the  scene,  and  learns  from  Hortensio 
of  Katharine's  vixenish  disposition,  which  determines 
him  to  woo  her.  With  a  stirring  song  ("  She  is  a 
Wife  for  such  a  Man  created  "),  the  act  comes  to 
an  end. 

i 


114  THE  STANDARD  OPERAS. 

The  second  act  opens  in  a  chamber  in  Baptista's 
house,  where  Katharine  is  berating  Bianca  for 
accepting  serenades  from  suitors,  and  abuses  her 
even  to  blows.  The  scene  closes  with  a  vigorous 
song  for  Katharine  ("  I  '11  give  myself  to  no  one  "), 
which  is  greeted  with  cynical  applause  by  Petruchio, 
Baptista,  Lucentio,  and  Hortensio,  who  enter,  the 
last  two  disguised  as  teachers.  In  the  next  scene, 
Petruchio  and  Katharine  alone,  we  have  the  tur- 
bulent wooing,  which  is  accompanied  throughout 
by  characteristic  music.  As  the  others  return 
Petruchio  announces  his  success  in  the  song,  "All 
is  well,"  the  theme  of  which  is  taken  by  the  quintet, 
closing  the  act. 

The  third  is  the  most  interesting  act  of  the  three. 
It  opens  on  the  day  selected  for  the  wedding  of 
Katharine  and  Petruchio,  in  Baptista's  garden ;  the 
first  number  being  a  charming  quintet  for  Katharine, 
Bianca,  Lucentio,  Hortensio,  and  Baptista.  The 
guests  are  present,  but  Petruchio  is  not  there.  An 
explanation  is  made,  followed  by  a  chorus  as  the 
guests  leave ;  and  then  Bianca  is  free  to  take  her 
lessons,  in  one  of  which  Lucentio  makes  his  avowal 
of  love  to  her.  The  arrangement  of  the  two  les- 
sons is  both  unique  and  skilful.  Lucentio  turns  the 
familiar  opening  lines  of  the  ^Eneid,  "  Arma  virum- 
que  cano,"  etc.,  into  a  love-song  by  declarations 
interposed  between  them;  while  Hortensio  explains 
the  mysteries  of  the  scale  to  her,  each  line  of  his 
love-song  beginning  with  one  of  its  letters.  It  is 
soon  found,  however,  that  Lucentio  is  the  accepted 


THE    TAMIXG   OF  THE  SHREW.        II5 

lover.  Baptista  now  enters  and  announces  Petru- 
chio's  return,  which  leads  to  a  charming  quartet. 
The  finale  of  the  opera,  which  is  very  spirited, 
includes  the  preparations  for  the  marriage- feast, 
the  wedding,  and  the  scene  in  which  Petruchio 
abruptly  forces  his  bride  to  leave  with  him  for  his 
country  house. 


GOLDMARK, 


jlARL  GOLDMARK  was  born  at  Keszthely, 
Hungary,  May  18,  1832.  He  first  studied 
with  the  violinist  Jansa  at  Vienna,  and  in 
his  fifteenth  year  entered  the  Conserva- 
tory in  that  city.  Little  is  known  of  the  events  of 
his  early  life.  Indeed,  his  success  in  his  profession 
is  generally  credited  more  to  his  native  ability  and 
industry  than  to  the  influence  of  teachers  or  schools. 
He  began  composition  at  an  early  period,  and 
produced  his  works  in  concerts  with  much  suc- 
cess under  the  encouragement  of  Hellmesberger  and 
others,  who  recognized  his  ability  before  he  had  made 
any  impression  out  of  Vienna.  Four  of  his  compo- 
sitions during  the  past  fifteen  years,  the  "  Sakun- 
tala  "  overture,  the  operas  "  The  Queen  of  Sheba  " 
and  "  Merlin,"  and  "  Die  landliche  Hochzeit  "  (The 
Country  Wedding)  symphony  have  made  a  perma- 
nent reputation  for  him.  The  overture  and  operas 
have  been  performed  several  times  in  this  country. 
Besides  these  he  has  written  several  pieces  of 
chamber  music. 


THE  QUEEN  OF  SHEBA.  117 


She  ^rtecit  of 


"The  Queen  of  Sheba  "  was  first  produced  in 
Vienna,  March  10,  1875,  and  was  first  heard  in  this 
country  at  New  York,  Dec.  2,  1885,  when  the  cast 
was  as  follows  :  — 

KING  SOLOMON     ........  Herr  ROBINSON. 

HIGH-PRIEST        ........  Herr  FISCHER. 

SULAMITH        .........  Fraulein  LEHMANN. 

ASSAD  ............  Herr  STRITT. 

BAAL  HANAN  .........  Herr  ALEXI. 

QUEEN  OF  SHEBA     .......  Frau  KRAMER-WEIDL. 

ASTAROTH    ..........  Fraulein  BRANDT. 

The  libretto  by  Mosenthal  is  one  of  rare  excellence 
in  its  skilful  treatment  of  situations  and  arrangement 
of  scenes  with  the  view  to  spectacular  and  dramatic 
effect.  The  Biblical  story  has  but  little  to  do  with 
the  action  of  the  opera  beyond  the  mere  fact  of  the 
famous  visit  of  the  Queen  of  Sheba  to  Solomon. 
The  stirring  episodes  during  the  journey  and  the 
visit  spring  from  the  librettist's  imagination.  The 
story  in  substance  is  as  follows  :  — 

King  Solomon,  learning  of  the  Queen's  intention 
to  visit  him,  sends  his  favorite  courtier  Assad  to 
escort  her.  While  she  waits  outside  the  gates  of 
Jerusalem,  Assad  announces  her  arrival  to  the  King 
and  Sulamith,  the  daughter  of  the  high-priest,  to 
whom  the  courtier  is  affianced.  Observing  his  dis- 
turbed looks,  the  King,  after  dismissing  his  attend- 
ants, inquires  the  cause.  Assad  replies  that  on  their 


Il8       THE  STANDARD  OPERAS. 

journey  through  the  forest  he  had  encountered  a 
nymph  bathing  whose  beauty  had  so  impressed  him 
as  to  banish  even  the  thoughts  of  his  affianced. 
The  wise  Solomon  counsels  him  to  marry  Sulamith 
at  once.  Meanwhile  the  Queen  comes  into  the 
King's  presence,  and  as  she  lifts  her  veil  reveals  the 
unknown  fair  one.  She  affects  ignorance  of  Assad's 
passion  ;  but  when  she  learns  that  he  is  to  wed  Sula- 
mith love  for  him  springs  up  in  her  own  breast. 
Upon  the  day  of  the  wedding  ceremony  Assad, 
carried  away  by  his  longing  for  the  Queen,  declares 
her  to  be  his  divinity,  and  is  condemned  to  death 
for  profaning  the  Temple.  Both  the  Queen  and 
Sulamith  appeal  to  the  King  for  mercy.  He  con- 
sents at  last  to  save  his  life,  but  banishes  him  to  the 
desert.  The  Queen  seeks  him  there,  and  makes 
an  avowal  of  her  love  ;  but  Assad  repulses  her.  As 
Sulamith  comes  upon  the  scene  a  simoom  sweeps 
across  the  desert.  They  perish  in  each  other's 
arms ;  while  in  a  mirage  the  Queen  and  her  attend- 
ants are  seen  journeying  to  their  home. 

The  first  act  opens  in  the  great  hall  of  Solomon's 
palace  with  a  brilliant,  joyous  chorus  ("  Open  the 
Halls,  adorn  the  Portals  ")  in  praise  of  the  King's 
glory.  After  the  entrance  of  the  high-priest,  Sula- 
mith sings  a  fascinating  bridal  song  ("  My  own 
Assad  returns  "),  richly  oriental  both  in  music  and 
sentiment,  dreamy  and  luxurious  in  its  tone,  and  yet 
full  of  joyous  expectation,  with  characteristic  choral 
refrain  and  dainty  accompaniment.  The  fourth  and 
fifth  scenes  are  full  of  agitation  and  unrest,  and  lead 


THE   QUEEN  OF  SHEBA.  119 

up  to  Assad's  explanation  of  his  perturbed  condi- 
tion ("At  Lebanon's  Foot  I  met  Arabia's  Queen"), 
a  monologue  aria  of  rich  glowing  color  and  reaching 
a  fine  dramatic  climax  as  it  progresses  from  its  sen- 
suous opening  to  the  passionate  intensity  of  its 
finale.  It  is  followed  by  the  entrance  of  the  Queen, 
accompanied  by  a  brilliant  march  and  a  jubilant 
chorus  ("  To  the  Sun  of  the  South  our  Welcome  we 
bring  ")  and  a  stirring  concerted  number,  describing 
the  recognition  of  the  Queen  by  Assad ;  after  which 
the  chorus  resumes  its  jubilant  strain,  bringing  the 
act  to  a  close. 

The  second  act  opens  in  the  gardens  of  the  palace 
and  discloses  the  Queen,  who  gives  expression  to 
her  love  for  Assad  and  her  hatred  of  Sulamith  in  an 
impassioned  aria  ("  Let  me  from  the  festal  Splen- 
dor ").  In  the  second  scene  Astaroth,  her  slave, 
appears  and  lures  Assad  by  a  weird  strain,  which  is 
one  of  the  most  effective  passages  in  the  opera 
("As  the  Heron  calls  in  the  Reeds  ").  After  a  short 
arioso  by  Assad  ("  Magical  Sounds,  intoxicating 
Fragrance  "),  a  passionate  duet  with  the  Queen  fol- 
lows, interrupted  by  the  call  of  the  Temple-guard  to 
prayer.  The  scene  changes  to  the  interior  of  the 
sanctuary  with  its  religious  service  ;  and  with  it  the 
music  changes  also  to  solemn  Hebrew  melodies  with 
the  accompaniment  of  the  sacred  instruments,  lead- 
ing up  to  the  stirring  finale  in  which  Assad  declares 
his  passion  for  the  Queen,  amid  choruses  of  execra- 
tion by  the  people. 

The  third  act  opens  in  the  banquet-hall  upon  a 


120  THE  STANDARD   OPERAS. 

scene  of  festivity  introduced  by  the  graceful  bee 
dance  of  the  Almas.  It  is  followed  by  the  powerful 
appeal  of  the  Queen  for  Assad's  life,  rising  to  an 
intensely  dramatic  pitch  as  she  warns  the  King  of 
the  revenge  of  her  armed  hosts  ("  When  Sheba's 
iron  Lances  splinter  and  Zion's  Throne  in  Ruins 
falls  ").  In  sad  contrast  comes  the  mournful  chant 
which  accompanies  Sulamith  as  she  passes  to  the 
vestal's  home  ("  The  Hour  that  robbed  me  of  him  "), 
and  ends  in  her  despairing  cry  rising  above  the 
chorus  of  attendants  as  Solomon  also  refuses  her 
petition. 

The  last  act  passes  in  the  desert.  Assad  beneath 
a  solitary  palm-tree  laments  the  destiny  which  pur- 
sues him  ("  Whither  shall  I  wend  my  weary  Steps  ?  "). 
In  the  next  scene  the  Queen  appears,  and  an  agi- 
tated duet  follows,  ending  with  her  repulse.  Assad 
in  despair  calls  upon  death  to  relieve  him.  The 
sky  darkens.  Clouds  of  sand  envelop  the  fugitive. 
The  palm  bends  before  the  blast  as  the  simoom 
sweeps  by.  The  storm  at  last  subsides.  The  sky 
grows  brighter ;  and  the  Queen  and  her  attendants, 
with  their  elephants  and  camels,  appear  in  a  mirage 
journeying  eastward  as  Sulamith  and  her  lover  ex- 
pire in  each  other's  arms.  As  their  duet  dies  away, 
the  chorus  of  maidens  brings  the  act  to  a  close  with 
a  few  strains  from  the  love-song  in  the  first  act. 


MERLIN.  12I 


ptcrltn. 

The  opera  of  "  Merlin "  was  first  performed  at 
Vienna,  Nov.  17,  1886,  and  was  heard  for  the  first 
time  in  this  country  at  New  York,  Jan.  3,  1887, 
under  the  direction  of  Mr.  Walter  Damrosch,  with 
the  following  cast  :  — 

KING  ARTHUR Hcrr  ROBINSON. 

MODRED Herr  KEMLITZ. 

LANCELOT Herr  BURSCH. 

GAWEIN Herr  HEINRICH. 

GLENDOWER Herr  VON  MILDE. 

MERLIN Herr  ALVARY. 

VIVIANE Fraulein  LEHMANN. 

BEDWYR Herr  SIEGLITZ. 

THE  FAY  MORGANA Fraulein  BRANDT. 

THE  DEMON Herr  FISCHER. 

The  libretto  of  the  opera  is  by  Siegfried  Lipiner. 
The  scene  is  laid  in  Wales,  and  the  hero,  Merlin,  is 
familiar  as  one  of  the  knights  of  King  Arthur's 
round-table.  The  story  is  as  follows  :  — 

The  Devil,  ambitious  to  banish  all  good  from  the 
world,  unites  himself  to  a  virgin  in  order  that  he 
may  beget  a  child  who  shall  aid  him  in  his  fell 
purpose.  The  child  is  Merlin,  who  partakes  of  the 
mother's  goodness,  and  instead  of  aiding  his  father, 
seeks  to  thwart  his  design.  The  Devil  thereupon 
consults  the  Fay  Morgana,  who  tells  him  that  Mer- 
lin will  lose  his  power  if  he  falls  in  love.  In  the 
opening  scene  King  Arthur  sends  Lancelot  to  Mer- 
lin for  aid,  who  promises  him  victory  and  achieves 


122  THE  STANDARD   OPERAS. 

it  by  the  assistance  of  his  familiar,  a  demon,  who  is 
in  league  with  the  Devil.  Tired  of  his  service  to 
Merlin,  the  demon  contrives  to  have  him  meet  the 
beautiful  Viviane,  with  whom  he  falls  in  love.  The 
second  act  transpires  in  Merlin's  enchanted  garden, 
and  reveals  his  growing  passion,  and  at  the  same 
time  his  waning  power  of  magic ;  for  when  once 
more  Arthur  summons  his  aid  he  attempts  to  tear 
himself  away  from  her  only  to  realize  his  weakness. 
She  seeks  to  detain  him  by  throwing  a  magic  veil 
over  him  which  has  been  given  her  by  the  demon ; 
in  an  instant  the  scene  changes,  and  Merlin  ap- 
pears confined  to  a  rock  by  fiery  chains,  while  the 
demon  mocks  him  from  a  neighboring  eminence, 
and  Viviane  gives  way  to  anguish.  In  the  last  act 
Viviane  is  told  by  the  Fay  Morgana  that  Merlin's 
release  can  only  be  secured  by  woman's  self-sacri- 
fice. Once  more  an  appeal  for  help  comes  to  him 
from  Arthur,  and  he  promises  his  soul  to  the  demon 
in  exchange  for  his  freedom.  His  chains  fall  off. 
He  rushes  into  the  battle  and  secures  the  victory, 
but  is  fatally  wounded.  The  demon  claims  him ; 
but  Viviane,  remembering  the  words  of  the  Fay 
Morgana,  stabs  herself  and  thus  balks  him  of  his 
expectant  prey. 

Like  Wagner's  operas,  "  Merlin  "  has  its  motives, 
the  principal  ones  being  that  of  the  demon,  or  the 
evil  principle,  and  two  love  motives.  In  its  general 
treatment  it  is  also  Wagnerish.  The  first  scene 
opens  with  the  spirited  message  of  Lancelot  to 
Glendower,  beseeching  Merlin's  aid  for  the  hard- 


MERLIN. 


123 


pressed  Arthur.  It  is  followed  by  the  strains  of 
Merlin's  harp  in  the  castle  and  his  assurance  of 
victory,  and  these  in  turn  by  very  descriptive  in- 
cantation music  summoning  the  demon  and  the 
supernatural  agencies  which  will  compass  the  defeat 
of  Arthur's  enemies.  Then  comes  the  interview 
between  the  demon  and  the  Fay  Morgana,  in  which 
he  learns  the  secret  of  Merlin's  weakness.  In  the 
next  scene  Arthur  returns  from  his  victory  over  the 
Saxons  to  the  tempo  of  a  stirring  march,  and  ac- 
companied by  the  joyous  choruses  of  women.  A 
vigorous  episode,  in  which  Bedwyr,  one  of  Arthur's 
knights,  is  charged  with  treachery,  is  followed  by 
Merlin's  chant  of  victory  with  chorus  accompani- 
ment. As  its  strains  die  away  a  distant  horn  an- 
nounces Viviane,  who  makes  her  appearance  singing 
a  breezy  hunting  song  with  her  maidens,  leading  up 
to  a  spirited  septet.  Then  follows  the  baffled  at- 
tempt of  Viviane  to  crown  Merlin,  the  scene  closing 
with  a  repetition  of  the  chant  of  victory  and  the 
choruses  of  jubilation. 

The  second  act  opens  in  the  enchanted  gardens 
of  Merlin ;  and  the  first  scene  reveals  a  conspiracy 
to  seize  the  crown  during  Arthur's  absence  and  pro- 
claim Modred  king,  and  the  farewell  of  Arthur  and 
his  suite  to  Merlin.  The  magic-veil  scene  follows 
with  its  fascinating  dance  tempos,  and  leads  with 
its  graceful  measures  up  to  the  passionate  love- 
scene  between  Merlin  and  Viviane,  which  is  harshly 
broken  in  upon  by  the  clash  of  arms  between 
Modred  and  his  perfidious  companions  and  the 


124 


THE  STANDARD   OPERAS. 


faithful  friends  of  Arthur.  A  dramatic  scene  of 
great  energy  follows,  in  which  Viviane  at  last  throws 
the  magic  veil  around  Merlin  with  the  transforming 
results  already  told. 

The  last  act  opens  with  Viviane's  mournful  lament 
for  the  wretched  fate  which  she  has  brought  down 
upon  her  lover,  and  the  announcement  of  the  means 
by  which  he  may  be  released  made  to  her  in  slum- 
ber by  the  Fay  Morgana.  Her  maidens  seek  to 
rouse  her  with  choral  appeals,  in  which  are.  heard 
phrases  of  her  hunting  song.  Meanwhile  mocking 
spirits  appear  about  Merlin  and  taunt  him  in  char- 
acteristic music.  Then  follows  the  compact  with 
the  demon,  which  releases  him.  He  rushes  into 
the  battle  accompanied  by  an  exultant  song  from 
Viviane  ;  but  soon  the  funeral  march,  as  his  followers 
bear  him  from  the  field,  tells  the  mournful  story  of 
his  fate.  A  very  dramatic  ensemble  contains  the 
deed  of  self-sacrifice,  by  which  Viviane  ends  her 
life  to  redeem  Merlin  from  the  demon,  and  with 
this  powerful  effect  the  opera  closes. 


GOUNOD. 

HARLES  FRANgOIS  GOUNOD  was 
born  in  Paris,  June  17,  1818.  He  stud- 
ied music  in  the  Conservatory,  under  the 
direction  of  Halevy,  Lesueur,  and  Paer, 
and  in  1839  obtained  the  first  prize,  and,  under 
the  usual  regulations,  went  to  Italy.  While  at 
Rome  he  devoted  himself  largely  to  religious  music. 
On  his  return  to  Paris  he  became  organist  of  the 
Missions  Etrangeres,  and  for  a  time  seriously 
thought  of  taking  orders.  In  1851,  however,  he 
brought  out  his  first  opera,  "  Sappho,"  which  met 
with  success.  At  this  point  his  active  career 
began.  In  1852  he  became  conductor  of  the 
Orpheon,  and  wrote  the  choruses  for  Ponsard's 
tragedy  of  "  Ulysse."  The  year  1854  brought  a 
five-act  opera,  "  La  Nonne  Sanglante,"  founded  on 
a  legend  in  Lewis's  "  Monk."  In  1858  he  made 
his  first  essay  in  opera  comique,  and  produced 
"  Le  Medecin  malgre  lui,"  which  met  with  remark- 
able success.  The  next  year  "  Faust  "  was  per- 
formed, and  placed  him  in  the  front  rank  of  living 
composers.  "  Philemon  et  Baucis  "  appeared  in 


126  THE    STANDARD    OPERAS. 

1860,  and  "  La  Reine  de  Saba,"  which  was  after- 
wards performed  in  English  as  "Irene,"  in  1862. 
In  1863  he  brought  out  the  pretty  pastoral  opera 
"Mireille."  This  was  succeeded  in  1866  by  "  La 
Colombe,"  known  in  English  as  "  The  Pet  Dove," 
and  in  1867  by  "Rome"o  et  Juliette."  In  1877  he 
produced  "  Cinq  Mars,"  and  in  1878  his  last  opera, 
"  Polyeucte."  He  has  also  written  much  church 
music,  the  more  important  works  being  the  "  Messe 
Solenelle,"  a  "  Stabat  Mater,"  the  oratorio  "Tobie," 
a  "  De  Profundis,"  an  "  Ave  Verum,"  and  many 
single  hymns  and  songs,  among  which  "  Nazareth  " 
is  universally  popular.  His  list  of  compositions 
for  orchestra  is  also  very  large,  and  includes  such 
popular  pieces  as  the  "  Saltarello,"  "  Funeral  March 
of  a  Marionette,"  and  the  Meditation,  based  on 
Bach's  First  Prelude,  which  is  accompanied  by  a 
soprano  solo.  He  was  elected  a  member  of  the 
Institut  de  France  in  1866. 


"  Faust,"  a  grand  opera  in  five  acts,  words  by 
Barbier  and  Carre,  founded  upon  Goethe's  tragedy, 
was  first  produced  at  the  Theatre  Lyrique,  Paris, 
March  19,  1859,  with  the  following  cast  of  the 
principal  parts  :  — 

MARGUERITE    ......  Mme.  MTOLAN-CARVALHO. 

SIEBEL    ........  Mile.  FAIVRE. 

FAUST     ........  M.  BARBOT. 

VALENTIN   .......  M.  REGNAL. 

MEPHISTOPHELES     .    .    .    .  M.  BALANQU^. 

MARTHA  ........  Mme.  DUCLOS. 


FA  UST, 


127 


The  opera  was  first  produced  in  London  as 
"Faust,"  June  n,  1863;  in  English,  Jan.  23, 
1864;  and  in  Germany  as  "  Margarethe." 

The  story  of  the  opera  follows  Goethe's  tragedy 
very  closely,  and  is  confined  to  the  first  part.  It 
may  be  briefly  told.  Faust,  an  aged  German  stu- 
dent, satiated  with  human  knowledge  and  despair- 
ing of  his  ability  to  unravel  the  secrets  of  nature, 
summons  the  evil  spirit  Mephistopheles  to  his 
assistance,  and  contracts  to  give  him  his  soul  in 
exchange  for  a  restoration  to  youth.  Mephistophe- 
les effects  the  transformation,  and  reveals  to  him 
the  vision  of  Marguerite,  a  beautiful  village  maiden, 
with  whom  Faust  at  once  falls  in  love.  They  set 
out  upon  their  travels  and  encounter  her  at  the 
Kermesse.  She  has  been  left  by  her  brother  Val- 
entin, a  soldier,  in  care  of  Dame  Martha,  who 
proves  herself  a  careless  guardian.  Their  first 
meeting  is  a  casual  one  ;  but  subsequently  he  finds 
her  in  her  garden,  and  with  the  help  of  the  subtle 
Mephistopheles  succeeds  in  engaging  the  young 
girl's  affection.  Her  simple  lover,  Siebel,  is  dis- 
carded, and  his  nosegay  is  thrown  away  at  sight 
of  the  jewels  with  which  Faust  tempts  her.  When 
Valentin  returns  from  the  wars  he  learns  of  her 
temptation  and  subsequent  ruin.  He  challenges 
the  seducer,  and  in  the  encounter  is  slain  by  the 
intervention  of  Mephistopheles.  Overcome  by  the 
horror  of  her  situation,  Marguerite  becomes  insane, 
and  in  her  frenzy  kills  her  child.  She  is  thrown 
into  prison,  where  Faust  and  Mephistopheles  find 


128  THE    STANDARD    OPERAS. 

her.  Faust  urges  her  to  fly  with  them,  but  she 
refuses,  and  places  her  reliance  for  salvation  upon 
earnest  prayer,  and  sorrow  for  the  wrong  she  has 
done.  Pleading  for  forgiveness,  she  expires ;  and 
as  Mephistopheles  exults  at  the  catastrophe  he  has 
wrought,  angels  appear  amid  the  music  of  the  celes- 
tial choirs  and  bear  the  sufferer  to  heaven. 

The  first  act  is  in  the  nature  of  a  prelude,  and 
opens  with  a  long  soliloquy  ("  Interrogo  invano  ") 
by  Faust,  in  which  he  laments  the  unsatisfactoriness 
of  life.  It  is  interwoven  with  delightful  snatches 
of  chorus  heard  behind  the  scenes,  a  duet  with 
Mephistopheles  ("Ma  il  del"),  and  the  delicate 
music  accompanying  the  vision  of  Marguerite. 

The  second  act  is  contained  in  a  single  setting,  the 
Kermesse,  in  which  the  chorus  plays  an  important 
part.  In  the  first  scene  the  choruses  of  students, 
soldiers,  old  men,  girls,  and  matrons  are  quaintly 
contrasted,  and  are  full  of  animation  and  character- 
istic color.  In  the  second,  Valentin  sings  a  ten- 
der song  ("  O  santa  medaglia  ")  to  a  medallion  of 
his  sister  which  he  wears  as  a  charm.  It  is  fol- 
lowed by  a  grim  and  weird  drinking-song  ("  Dio 
dell'  or"),  sung  by  Mephistopheles.  The  latter 
then  strikes  fire  from  the  fountain  into  his  cup, 
and  proposes  the  health  of  Marguerite.  Valentin 
springs  forward  to  resent  the  insult,  only  to  find 
his  sword  broken  in  his  hands.  The  students  and 
soldiers  recognize  the  spirit  of  evil,  and  overcome 
him  by  presenting  the  hilts  of  their  swords  in  the 
form  of  a  cross,  the  scene  being  accompanied  by 


FAUST.  I29 

one  of  the  most  effective  choruses  in  the  work 
("Tu  puvi  la  spada").  The  tempter  gone,  the 
scene  resumes  its  gayety,  and  the  act  closes  with 
one  of  the  most  animated  and  delightful  of  waltz 
tempos  ("Come  la  brezza"). 

The  third  act  is  the  Garden  scene,  full  of  fasci- 
nating detail,  and  breathes  the  very  spirit  of  poetry 
and  music  combined  in  a  picture  of  love  which  has 
never  been  excelled  in  tenderness  and  beauty  on 
the  operatic  stage.  Its  principal  numbers  are  a 
short  and  simple  but  very  beautiful  ballad  for  Siebel 
("  La  parlate  d'  amor  ") ;  a  passionate  aria  for  tenor 
("  Salve  dimora  casta  e  pura "),  in  which  Faust 
greets  Marguerite's  dwelling ;  a  double  number, 
which  is  superb  in  its  contrasts,  —  the  folk-song, 
"  C'  era  un  re  di  Thule,"  a  plaintive  little  ballad 
sung  at  the  spinning-wheel  by  Marguerite,  and  the 
bravura  jewel-song,  "  Ah  !  e'  strano  poter,"  which  is 
the  very  essence  of  delicacy  and  almost  childish 
glee ;  the  quartet  commencing,  "  V  appogiato  al 
bracchio  mio,"  which  is  of  striking  interest  by  the 
independent  manner  in  which  the  two  pairs  of 
voices  are  treated  and  combined  in  the  close  ;  and 
the  closing  duet  ("  Sempre  amar  ")  between  Faust 
and  Marguerite,  which  is  replete  with  tenderness 
and  passion,  and  closes  in  strains  of  almost  ecstatic 
rapture,  the  fatal  end  of  which  is  foreshadowed  by 
the  mocking  laugh  of  Mephistopheles  breaking  in 
upon  its  lingering  cadences. 

The  fourth  act  is  known  as  the  Cathedral  act, 
and  established  Gounod's  reputation  as  a  writer  of 
9 


130 


THE    STANDARD    OPERAS. 


serious  music.  It  opens  with  a  scena  for  Mar- 
guerite, who  has  been  taunted  by  the  girls  at  the 
fountain  ("  Nascose  eran  la  le  crudeli  "),  in  which 
she  laments  her  sad  fate.  The  scene  abruptly 
changes  to  the  square  in  front  of  the  cathedral, 
where  the  soldiers,  Valentin  among  them,  are  re- 
turning, to  the  jubilant  though  somewhat  common- 
place strains  of  the  march,  "Deponiam  il  branda." 
As  the  soldiers  retire  and  Valentin  goes  in  quest  of 
Marguerite,  Faust  and  Mephistopheles  appear  before 
the  house,  and  the  latter  sings  a  grotesque  and  liter- 
erally  infernal  serenade  ("  Tu,  che  fai  1'  addormen- 
tata ").  Valentin  appears  and  a  quarrel  ensues, . 
leading  up  to  a  spirited  trio.  Valentin  is  slain,  and 
with  his  dying  breath  pronounces  a  malediction 
("  Margherita  !  maledetta  ")  upon  his  sister.  The 
scene  changes  to  the  church,  and  in  wonderful 
combination  we  hear  the  appeals  of  Marguerite  for 
mercy,  the  taunting  voice  of  the  tempter,  and  the 
monkish  chanting  of  the  "  Dies  Irae,"  mingled  with 
the  solemn  strains  of  the  organ. 

The  last  act  is  usually  presented  in  a  single  scene, 
the  Prison,  but  it  contains  five  changes.  After  a 
weird  prelude,  the  Walpurgis  revel  begins,  in  which 
short,  strange  phrases  are  heard  from  unseen  singers. 
The  night  scene  changes  to  a  hall  of  pagan  enchant- 
ment, and  again  to  the  Brocken,  where  the  appari- 
tion of  Marguerite  is  seen.  The  orgy  is  resumed, 
when  suddenly  by  another  transformation  we  are 
taken  to  the  prison  where  Marguerite  is  awaiting 
death.  It  is  unnecessary  to  give  its  details.  The 


ROMEO  AND  JULIET.  131 

scene  takes  the  form  of  a  terzetto,  which  is  worked 
up  with  constantly  increasing  power  to  a  climax  of 
passionate  energy,  and  at  last  dies  away  as  Mar- 
guerite expires.  It  stands  almost  alone  among 
effects  of  this  kind  in  opera.  The  curtain  falls 
upon  a  celestial  chorus  of  apotheosis,  the  vision  of 
the  angels,  and  Mephistopheles  cowering  in  terror 
before  the  heavenly  messengers. 


flomeo  attb  fttlict. 

"  Rome'o  et  Juliette,"  a  grand  opera  in  five  acts, 
words  by  Barbier  and  Carre,  the  subject  taken  from 
Shakspeare's  tragedy  of  the  same  name,  was  first 
produced  at  the  Theatre  Lyrique,  Paris,  April  27, 
1867,  with  Mme.  Miolan-Carvalho  in  the  role  of 
Juliet.  The  story  as  told  by  the  French  drama- 
tists in  the  main  follows  Shakspeare's  tragedy  very 
closely  in  its  construction  as  well  as  in  its  dialogue. 
It  is  only  necessary,  therefore,  to  sketch  its  outlines. 
The  first  act  opens  with  the  festival  at  the  house  of 
Capulet.  Juliet  and  Romeo  meet  there  and  fall  in 
love,  notwithstanding  her  betrothal  to  Paris.  The 
hot-blooded  Tybalt  seeks  to  provoke  a  quarrel 
with  Romeo,  but  is  restrained  by  Capulet  himself, 
and  the  act  comes  to  a  close  with  a  resumption  of 
the  merry  festivities.  In  the  second  act  we  have 
the  balcony  scene,  quite  literally  taken  from  Shaks- 
peare,  with  an  episode,  however,  in  the  form  of  a 
temporary  interruption  by  Gregory  and  retainers, 


132  THE    STANDARD    OPERAS, 

whose  appearance  is  rather  absurd  than  otherwise. 
The  third  act  is  constructed  in  two  scenes.  The 
first  is  in  the  friar's  cell,  where  the  secret  marriage 
of  the  lovers  takes  place.  In  the  second,  we  are 
introduced  to  a  new  character,  invented  by  the 
librettist,  —  Stephano,  Romeo's  page,  whose  pranks 
while  in  search  of  his  master  provoke  a  general 
quarrel,  in  which  Mercutio  is  slain  by  Tybalt,  who 
in  turn  is  killed  by  Romeo.  When  Capulet  arrives 
upon  the  scene  he  condemns  Romeo  to  banish- 
ment, who  vows,  however,  that  he  will  see  Juliet 
again  at  all  hazards.  The  fourth  act  is  also  made 
up  of  two  scenes.  The  first  is  in  Juliet's  cham- 
ber, and  is  devoted  to  a  duet  between  the  two 
lovers.  Romeo  departs  at  dawn,  and  Capulet 
appears  with  Friar  Laurence  and  announces  his 
determination  that  the  marriage  with  Paris  shall  be 
celebrated  at  once.  Juliet  implores  the  Friar's 
help,  and  he  gives  her  the  potion.  The  next  scene 
is  devoted  to  the  wedding  festivity,  in  the  midst  of 
which  Juliet  falls  insensible  from  the  effects  of  the 
sleeping-draught.  The  last  act  transpires  in  the 
tomb  of  the  Capulets,  where  Romeo  arrives,  and 
believing  his  mistress  dead  takes  poison.  Juliet, 
reviving  from  the  effects  of  the  potion,  and  finding 
him  dying,  stabs  herself  with  a  dagger,  and  expires 
in  his  arms. 

While  many  numbers  are  greatly  admired,  the 
opera  as  a  whole  has  never  been  successful.  Had 
not  "  Faust,"  which  it  often  recalls,  preceded  it,  its 
fate  might  have  been  different.  Still,  it  contains 


MIREILLE. 


133 


many  strong  passages  and  much  beautiful  writing. 
The  favorite  numbers  are  the  waltz  arietta,  very 
much  in  the  manner  of  the  well-known  "  II  Bacio," 
at  the  Capulet  festival,  the  Queen  Mab  song,  by 
Mercutio  ("  Mab,  regina  di  menzogne  "),  and  the 
duet  betwee*  Romeo  and  Juliet  ("  Di  grazia, 
t'  arresta  ancor  !  "),  in  the  first  act ;  the  love  music 
in  the  balcony  scene  of  the  second  act,  which  in- 
evitably recalls  the  garden  music  in  "Faust;"  an 
impressive  solo  for  Friar  Laurence  ("Al  vostro 
amor  cocente"),  followed  by  a  vigorous  trio  and 
quartet,  the  music  of  which  is  massive  and  ecclesi- 
astical in  character,  and  the  page's  song  ("  Ah  !  col 
nibbio  micidale  "),  in  the  third  act ;  the  duet  of 
parting  between  Romeo  and  Juliet,  "  Tu  dei  partir 
ohime  !  "  the  quartet,  "  Non  temero  mio  ben,"  be- 
tween Juliet,  the  nurse,  Friar  Laurence,  and  Capu- 
let, and  the  dramatic  solo  for  the  Friar,  "  Bevi  allor 
questo  filtro,"  as  he  gives  the  potion  to  Juliet,  in 
the  fourth  act ;  and  the  elaborate  orchestral  prelude 
to  the  tomb  scene  in  the  last  act. 


"  Mireille,"  a  pastoral  opera  in  three  acts,  words 
by  M.  Carre",  the  subject  taken  from  "  Mireio,"  a 
Provencal  poem  by  Mistral,  was  first  produced  at 
the  Theatre  Lyrique,  Paris,  March  19,  1864,  with 
the  following  cast :  — 


134 


THE    STANDARD    OPERAS. 


MIREILLE     .......    Mme.  MIOLAN-CARVALHO. 


Mme.  FAURE-LEFEBVRE. 
ANDRELUNO  > 

VINCENZINA      ......    Mile.  LEROUX. 

VlNCENZO       .......      M.  ISMIEL. 

URIAS       ........    M.  PETIT. 

RAIMONDO    .......    M.  MORINI. 

In  December,  1864,  the  opera  was  reduced  to 
three  acts,  in  which  form  it  is  still  given.  In  this 
abridged  shape,  and  with  the  addition  of  the  waltz 
now  placed  in  the  finale,  it  was  brought  out  in 
London  with  Titiens,  Giuglini,  Santley,  and  Tre- 
belli  in  the  cast.  In  English  it  is  always  given 
under  the  title  of  "  Mirella."  The  first  scene  opens 
in  a  mulberry  grove,  where  Mireille  is  rallied  by  the 
village  girls  upon  her  attachment  to  Vincenzo,  the 
basket-maker,  and  is  also  warned  by  Tavena,  the 
fortune-teller,  against  yielding  to  her  love,  as  she 
foresees  that  her  father,  Raimondo,  will  never  con- 
sent to  the  union.  In  the  next  scene  she  meets 
Vincenzo,  and  the  warning  of  Tavena  is  soon  for- 
gotten. The  lovers  renew  their  pledges,  and  agree 
to  meet  at  the  Chapel  of  the  Virgin  if  their  plans 
are  thwarted.  The  second  act  introduces  us  to  a 
merrymaking  at  Aries,  where  Mireille  is  informed 
by  Tavena  that  Vincenzo  has  a  rival  in  Urias,  a 
wild  herdsman,  who  has  openly  declared  his  love 
for  her,  and  asked  her  hand  of  her  father.  Mireille 
repulses  him  when  he  brings  the  father's  consent. 
Ambrogio,  Vincenzo's  father,  accompanied  by  his 
daughter,  Vincenzina,  also  waits  upon  Raimondo 
and  intercedes  in  his  son's  behalf,  but  is  sternly 


MIREILLE.  135 

refused.  Mireille,  who  has  overheard  the  interview, 
declares  to  her  father  her  irrevocable  attachment  for 
Vincenzo.  Her  declaration  throws  him  into  such  a 
rage  that  he  is  about  to  strike  her,  but  she  disarms  his 
anger  by  appealing  to  the  memory  of  her  mother. 

The  last  act  opens  on  a  barren,  sunburnt  plain. 
Andreluno  appears,  singing  a  pastoral  song  to  the 
accompaniment  of  his  bagpipe,  followed  by  Mireille, 
who  is  toiling  across  the  hot  sands  to  meet  her 
lover  at  the  Chapel  of  the  Virgin.  She  is  met  by 
Tavena,  who  assures  her  that  Vincenzo  will  keep  his 
appointment,  and  then  returns  to  Aries  to  plead 
with  the  father  in  Mireille's  behalf.  The  poor  girl 
toils  on  through  the  heat,  and  at  last  arrives  nearly 
prostrated  by  sunstroke.  Vincenzo  soon  appears, 
and  is  shortly  followed  by  Raimondo,  who,  seeing 
the  sad  condition  of  his  daughter,  is  moved  to  pity 
and  gives  his  consent  to  the  union  of  the  lovers. 
The  sudden  joyful  change  of  affairs  restores  her 
wandering  senses  and  the  happy  pair  are  united. 

The  music  is  in  no  sense  dramatic,  but  lyric  and 
pastoral  throughout,  and  is  specially  marked  by  the 
beautiful  French  chansons  with  which  it  abounds. 
The  first  act  opens  with  a  delightful  pastoral  chorus 
of  the  maidens  under  the  mulberry-trees  ("  Fac- 
ciam  carole,  o  giovinette "),  which  is  very  fresh 
and  graceful.  The  second  begins  with  an  equally 
delightful  chorus  and  farandole  ("  La  Farandola 
tutti  consola  "),  followed  by  the  beautiful  Provencal 
folk-song,  "  Dolce  una  brezza,  intorno  olezza," 
which  is  full  of  local  color.  Tavena  sings  a  quaint 


136  THE    STANDARD    OPERAS. 

fortune-teller's  roundelay  ("La  stagione  arriva"), 
and  in  the  next  scene  Mireille  has  a  number  of  rare 
beauty  ("  Ah  !  piu  non  temo  fato  "),  in  which  she 
declares  her  unalterable  attachment  to  Vincenzo. 
The  finale  of  this  act,  with  its  strong  aria  ("  Qui  mi 
prostro  innanzi  ate  "),  is  very  spirited,  and  in  fact 
may  be  considered  the  only  dramatic  episode  in 
the  whole  work.  The  third  act  opens  with  the 
quaint  little  song  of  Andreluno,  the  shepherd  boy 
("  L'  alba  tranquilla  "),  with  oboe  accompaniment. 
It  also  contains  a  plaintive  song  for  tenor  ("  Ah  !  se 
de  preghi  miei"),  and  closes  with  a  waltz  song 
("  O  d'  amor  messagera  "•),  which  is  fairly  gorgeous 
in  bravura  effects,  and  Hanslick  says  was  a  conces- 
sion to  Miolan-Carvalho,  like  the  jewel  song  in 
"  Faust "  and  the  waltz  song  in  "  Romeo  and  Juliet." 
In  the  original  libretto  the  song  had  its  place  in  the 
first  act,  and  indeed  numerous  changes  have  been 
n:ade  in  the  libretto  since  the  opera  first  appeared ; 
as  in  the  original,  Mireille  dies  in  the  arms  of  her 
lover,  and  Urias,  Vincenzo's  rival,  is  drowned  in 
the  Rhone.  When  it  first  appeared,  however,  great 
objection  was  made  to  several  of  the  situations,  and 
the  libretto  was  declared  fantastic  and  uninteresting ; 
hence  the  changes.  As  a  lyric  drama,  delightfully 
picturing  the  quaintness  and  simplicity  of  provincial 
life,  not  alone  in  the  tunefulness  of  the  music,  but 
also  in  its  pastoral  naivete'  and  what  may  be  termed 
its  folk-characteristics,  it  will  hold  a  high  place 
upon  the  stage  as  long  as  young  and  fresh  voices 
can  be  found  to  sing  it. 


HALEVY. 

ACQUES  FRANCOIS  FROMENTHAL 
ELIAS  HALEVY  was  born  at  Paris, 
May  27,  1799,  of  Israelitish  parents, 
whose  name  was  originally  Levy.  He 
entered  the  Conservatory  in  1809,  and  in  1819 
obtained  the  Grand  Prize  for  his  cantata  of  "  Her- 
mione."  After  his  arrival  in  Italy  he  wrote  several 
minor  pieces,  but  his  music  did  not  attract  public 
attention  until  his  return  to  Paris,  when  his  three- 
act  opera,  "  Clari,"  brought  out  Dec.  9,  1828,  with 
Malibran  in  the  principal  role,  made  a  success. 
"  Le  Dilettante  d' Avignon "  (a  satire  on  Italian 
librettos),  "  Manon  Lescaut "  (a  ballet  in  three  acts), 
"  La  Langue  Musicale,"  "  La  Tentation,"  and  "  Les 
Souvenirs  "  rapidly  followed  "  Clari,"  with  alternat- 
ing successes  and  failures.  In  1835  his  great  work, 
"  La  Juive,"  appeared,  and  in  the  same  year, 
"  L'Eclair,"  one  of  his  most  charming  operas,  writ- 
ten without  chorus  for  two  tenors  and  two  sopranos. 
It  was  considered  at  the  time  a  marvellous  feat  that 
he  should  have  produced  two  such  opposite  works 


138  THE    STANDARD    OPERAS. 

in  the  same  year,  and  great  hopes  were  entertained 
that  he  would  surpass  them.  These  hopes  failed, 
however.  He  subsequently  wrote  over  twenty  op- 
eras, among  them  "  Guido  et  Ginevra"  (1838); 
"Charles  VI."  (1842);  "La  Reine  de  Chypre  " 
(1842)  ;  "  Les  Mousquetaires  de  la  Reine  "  (1846)  ; 
"Le  Val  ,d'Andorre  "  (1848);  "La  Tempete  " 
(l853)  •  "  Le  Juif  Errant"  (1855),  and  others; 
but  "  La  Juive  "  and  "  L'  Eclair  "  remained  his 
masterpieces,  and  procured  him  admission  into 
the  Institute.  He  was  also  a  professor  in  the 
Conservatory,  and  among  his  pupils  were  Gounod, 
Mass£,  Bazin,  Duvernoy,  Bizet,  and  others.  He 
enjoyed  many  honors,  and  died  March  17,  1862. 
A  De  Profundis  was  sung  on  the  occasion  of  his 
funeral,  written  by  four  of  his  pupils,  MM.  Gounod, 
Mass£,  Bazin,  and  Cohen.  As  a  composer  he  was 
influenced  largely  by  Meyerbeer,  and  is  remarkable 
rather  for  his  large  dramatic  effects  than  for  his 
melody. 


"  La  Juive,"  a  grand  opera  in  five  acts,  words  by 
Scribe,  originally  written  for  Rossini  and  rejected  in 
favor  of  "  William  Tell,"  was  produced  for  the  first 
time  at  the  Academie,  Paris,  Feb.  23,  1835,  with 
the  following  cast  of  the  principal  parts  :  — 

RACHEL     ........  Mile.  CORNELIA  FALCON. 

EUDOXIA   ........  Mme.  DORUS-GRAS. 

ELEAZAR    ........  M.  NOURRIT. 

CARDINAL     .......  M.  LEVASSEUR. 


THE  JEWESS.  1.39 

It  was  first  produced  in  England  in  French, 
July  29,  1846,  and  in  Italian  under  the  title  of 
"  La  Ebrea,"  July  25,  1850.  In  this  country  it  is 
most  familiar  in  the  German  version.  The  scene  of 
the  operaMs  laid  in  Constance,  time,  1414.  Leo- 
pold, a  prince  of  the  empire,  returning  from  the 
wars,  is  enamoured  of  Rachel,  a  beautiful  Jewess, 
daughter  of  Eleazar  the  goldsmith.  The  better  to 
carry  out  his  plans,  he  calls  himself  Samuel,  and 
pretends  to  be  a  Jewish  painter.  Circumstances, 
however,  dispel  the  illusion,  and  Rachel  learns 
that  he  is  no  other  than  Leopold,  husband  of  the 
princess  Eudoxia.  Overcome  with  indignation  at 
the  discovery  of  his  perfidy,  she  publicly  denounces 
his  crime,  and  the  Cardinal  excommunicates  Leo- 
pold, and  pronounces  his  malediction  on  Rachel 
and  her  father.  Rachel,  Eleazar,  and  Leopold  are 
thrown  into  prison  to  await  the  execution  of  the 
sentence  of  death.  During  their  imprisonment  Eu- 
doxia intercedes  with  Rachel  to  save  Leopold's  life, 
and  at  last,  moved  by  the  grief  of  the  rightful  wife, 
she  publicly  recants  her  statement.  Leopold  is 
banished,  but  Rachel  and  her  father  are  again  con- 
demned to  death  for  conspiring  against  the  life  of 
a  Christian.  Eleazar  determines  to  be  revenged  in 
the  moment  of  death  upon  the  Cardinal,  who  has 
sentenced  them,  and  who  is  at  the  head  of  a  church 
which  he  hates ;  and  just  before  they  are  thrown 
into  a  caldron  of  fire,  reveals  to  the  spectators  that 
Rachel  is  not  his  own,  but  an  adopted  daughter, 
saved  from  the  ruins  of  the  Cardinal's  burning 
palace,  and  that  she  is  his  child. 


140      THE  STANDARD  OPERAS. 

The  opera  of  "  The  Jewess "  is  pre-eminently 
spectacular,  and  its  music  is  dramatic  and  declama- 
tory rather  than  melodious.  The  prominent  num- 
bers of  the  first  act  are  the  solemn  declaration  of 
the  Cardinal  ("  VVenn  ew'ger  Hass  "),  in  which  he 
replies  to  Eleazar's  hatred  of  the  Christian ;  the 
romance  sung  by  Leopold  ("Fern  vom  Liebchen 
weilen  "),  which  is  in  the  nature  of  a  serenade  to 
Rachel;  the  drinking-song  of  the  people  at  the 
fountain,  which  is  flowing  wine  ("  Eilt  herbei  ")  ; 
and  the  splendid  chorus  and  march  ("  Leht,  es 
nahet  sich  der  Zug  ")  which  preludes  the  imposing 
pageantry  music  of  the  Emperor's  arrival,  closing 
with  the  triumphant  Te  Deum  to  organ  accom- 
paniment and  the  greeting  to  the  Emperor,  "  Ho- 
sanna,  unser  Kaiser  hoch." 

The  second  act  opens  with  the  celebration  of  the 
Passover  in  Eleazar's  house,  and  introduces  a  very 
solemn  and  impressive  prayer  ("  Allmacht'ger  blicke 
gnadig  ").  In  the  next  scene  there  is  a  passionate 
ensemble  and  duet  for  Eudoxia  and  Leopold  ("  Ich 
will  ihn  seh'n  "),  which  is  followed  by  a  second  spir- 
ited duet  between  Rachel  and  Leopold  ("  Als  mein 
Herz  ")  ;  an  intensely  dramatic  aria  ("  Ach  !  Vater  ! 
Halt  ein  !  "),  in  which  she  claims  her  share  of  Leo- 
pold's guilt ;  and  the  final  grand  trio  of  anathema 
pronounced  by  Eleazar. 

The  third  act  is  principally  devoted  to  the  fes- 
tivities of  the  royal  pageants,  and  closes  with  the 
anathema  of  the  Cardinal  ("  Ihr,  die  ihr  Gottes 
Zorn  "),  which  is  a  concerted  number  of  magnifi- 
cent power  and  spirited  dramatic  effect.  The  fourth 


THE  JEWESS.  141 

act  contains  a  grand  duet  between  Eleazar  and  the 
Cardinal  ("  Hort  ich  recht?"),  and  closes  with  one 
of  the  most  powerful  scenas  ever  written  for  tenor 
("Das  Todesurtheil  sprich "),  in  which  Eleazar 
welcomes  death  and  hurls  defiance  at  the  Chris- 
tians. The  last  act  is  occupied  with  the  tragic 
denouement,  which  affords  splendid  opportunities 
for  action,  and  is  accompanied  by  very  dramatic 
music  to  the  close,  often  rising  to  real  sublimity. 
In  the  pageantry  of  the  stage,  in  the  expression  of 
high  and  passionate  sentiment,  in  elaborateness  of 
treatment,  and  in  broad  and  powerful  dramatic 
effect,  "The  Jewess  "  is  one  of  the  strongest  operas 
in  the  modern  repertory. 


HUMPERD1NCK. 


RNGELBERT      HUMPERDINCK,      the 

latest  star  in  the  German  musical  firma- 
ment, was  born,  Sept.  i,  1854,  at  Sieg- 
burg  on  the  Rhine,  and  received  his 
earliest  musical  training  at  the  Cologne  Conserva- 
tory. He  made  such  rapid  progress  in  his  studies, 
showing  special  proficiency  in  composition,  that  he 
carried  off  in  succession  the  three  prizes  of  the 
Mozart,  Mendelssohn,  and  Meyerbeer  stipends. 
These  enabled  him  to  continue  his  lessons  at 
Munich,  and  afterwards  in  Italy.  While  in  Naples, 
in  1880,  he  attracted  the  attention  of  Richard 
Wagner  as  a  rising  genius,  and  two  years  later  had 
the  honor  of  an  invitation  to  go  to  Venice  as  his 
guest,  upon  the  occasion  of  the  performance  of 
Wagner's  only  symphony.  In  1885  he  went  to 
Barcelona,  Spain,  where  he  taught  composition, 
and  was  the  director  of  a  quartette  at  the  Royal 
Conservatory  for  two  years.  In  1887  he  returned 
to  Cologne,  and  since  1890  has  been  identified 


HANSEL  AND   GRETEL.  I43 

with  a  Conservatory  at  Frankfort-on-the-Main.  In 
addition  to  the  opera  "  Hansel  and  Gretel,"  which 
has  given  him  a  world-wide  fame,  he  produced,  a 
few  years  ago,  a  chorus  ballad,  "  Das  Gliick  von 
Edenhall,"  and  a  cantata,  "  Die  Wallfahrt  nach 
Kevelaar,"  based  upon  Heine's  poem,  and  scored 
for  soloists,  chorus,  and  orchestra.  He  has  also 
written  several  songs  and  piano  pieces,  and,  it  is 
now  reported,  is  engaged  upon  a  dramatic  compo- 
sition called  "The  Royal  Children."  He  is  re- 
garded in  Germany  as  the  one  composer  who  gives 
promise  of  continuing  and  developing  the  scheme 
of  the  music-drama  as  it  was  propounded  by 
Wagner.  > 


anti   ©retel. 


"  Hansel  and  Gretel,"  a  fairy  opera  in  three  acts, 
words  by  Adelheid  Wette,  was  first  produced  in 
Germany  in  1894.  In  Jan/fary,  1895,  it  was  per- 
formed in  London  by  the  Royal  Carl  Rosa  Opera 
Company,  rendered  into  English  by  Constance 
Bache  ;  and  in  the  fall  of  the  same  year  it  had  its 
first  representation  in  New  York,  at  Daly's  Theatre, 
with  the  following  cast  :  — 

PETER,  a  broom-maker     .....    Mr.  JACQUES  BARS. 

GERTRUDE,  his  wife      .....    Miss  ALICE  GORDON. 

THE  WITCH    ......  Miss  LOUISE  MEISSLINGKR. 

HANSEL  ...........    Miss  MARIE  ELBA. 

GRETEL  .........      Miss  JEANNE  DOUSTE. 

SANDMAN,  the  Sleep  Fairy  .     .     .      Miss  CECILE  BRANI. 
DEWMAN,  the  Dawn  Fairy    .    .    Miss  EDITH  JOHNSTON. 


144 


THE  STANDARD   OPERAS. 


The  story  is  taken  from  one  of  Grimm's  well- 
known  fairy  tales,  and  the  text  was  written  by  the 
composer's  sister,  Adelheid  Wette.  It  was  Frau 
Wette's  intention  to  arrange  the  story  in  dramatic 
form  for  the  amusement  of  her  children,  her 
brother  lending  his  co-operation  by  writing  a  few 
little  melodies,  of  a  simple  nature,  to  accompany 
the  performance.  When  he  had  read  it,  however, 
the  story  took  his  fancy,  and  its  dramatic  possi- 
bilities so  appealed  to  him  that  he  determined  to 
give  it  an  operatic  setting  with  full  orchestral 
score,  and  thus  placed  it  in  the  higher  sphere 
of  world  performance  by  an  art  which  not  alone 
reveals  the  highest  type  of  genial  German  sen- 
timentality, but,  curiously  enough,  applied  to  this 
simple  little  story  of  angels,  witches,  and  the  two 
babes  in  the  woods  the  same  musical  methods 
which  Wagner  has  employed  in  telling  the  sto- 
ries of  gods  and  demigods.  Perhaps  its  highest 
praise  was  sounded  by  Siegfried  Wagner,  son  of 
Richard  Wagner,  who  declared  that  "  Hansel  and 
Gretel"  was  the  most  important  German  opera 
since  "Parsifal,"  notwithstanding  its  childishness 
and  simplicity. 

After  a  beautifully  instrumented  prelude,  which 
has  already  become  a  favorite  concert  piece,  the 
curtain  rises  upon  the  home  of  Peter,  the  broom- 
maker.  The  parents  are  away  seeking  for  food, 
and  Hansel  and  Gretel  have  been  left  in  the  cot- 
tage with  instructions  to  knit  and  make  brooms. 
There  is  a  charming  dialogue  between  the  two 


HANSEL  AND   G RE TEL. 


'45 


children,  beginning  with  a  doleful  lament  over  their 
poverty,  and  ending  with  an  outburst  of  childish 
hilarity  in  song  and  dancing,  — a  veritable  romp  in 
music,  —  which  is  suddenly  interrupted  by  the  re- 
turn of  Gertrude,  the  mother,  empty-handed,  who 
chides  them  for  their  behavior,  and  in  her  anger 
upsets  a  jug  of  milk  which  was  the  only  hope  of 
supper  in  the  house.  With  an  energetic  outburst 
of  recitative  she  sends  them  into  the  forest,  telling 
them  not  to  return  until  they  have  rilled  their  bas- 
ket with  strawberries.  After  lamenting  her  loss,  and 
mourning  over  her  many  troubles,  she  falls  asleep, 
but  is  awakened  by  the  return  of  Peter,  who  has 
been  more  fortunate,  and  has  brought  home  some 
provisions.  A  rollicking  scene  ensues,  but  sud- 
denly he  misses  the  children,  and  breaks  out  in  a 
fit  of  rage  when  he  is  informed  that  they  have  gone 
into  the  forest.  To  the  accompaniment  of  most 
gruesome  and  characteristic  music  he  tells  his  wife 
of  the  witch  who  haunts  the  woods,  and  who,  living 
in  a  honey-cake  house,  entices  little  children  to  it, 
bakes  them  into  gingerbread  in  her  oven,  and 
then  devours  them. 

The  second  act,  "  In  the  Forest,"  is  preluded 
by  a  characteristic  instrumental  number,  "The 
Witches'  Ride."  The  children  are  discovered  near 
the  Ilsenstein,  among  the  fir-trees,  making  garlands, 
listening  to  the  cuckoos,  and  mocking  them  in  a 
beautiful  duet  with  echo  accompaniment.  At  last, 
however,  they  realize  that  they  are  lost ;  and  in  the 
midst  of  their  fear,  which  is  intensified  by  strange 


I46  THE  STANDARD   OPERAS. 

sights  and  sounds,  the  Sandman,  or  sleep  fairy, 
approaches  them,  strews  sand  in  their  eyes,  and 
sings  them  to  sleep  with  a  most  delicious  lullaby, 
after  they  have  recited  their  prayer,  "When  at 
night  I  go  to  sleep,  fourteen  Angels  watch  do  keep." 
As  they  sleep  the  mist  rolls  away,  the  forest  back- 
ground disappears,  and  the  fourteen  angels  come 
down  a  sort  of  Jacob's  ladder  and  surround  the 
children,  while  other  angels  perform  a  stately  dance, 
grouping  themselves  in  picturesque  tableau  as  the 
curtain  falls. 

The  third  act  is  entitled  "  The  Witch's  House." 
The  children  are  still  sleeping,  but  the  angels  have 
vanished.  The  Dawn- Fairy  steps  forward  and  shakes 
dewdrops  from  a  bluebell  over  them,  accompany- 
ing the  action  with  a  delightful  song,  "  I  'm  up 
with  early  Dawning."  Gretel  is  the  first  to  wake, 
and  rouses  Hansel  by  tickling  him  with  a  leaf,  at 
the  same  time  singing  a  veritable  tickling  melody, 
and  then  telling  him  what  she  has  seen  in  her 
dream.  In  place  of  the  fir-trees  they  discover  the 
witch's  house  at  the  Ilsenstein,  with  an  oven  on 
one  side  and  on  the  other  a  cage,  both  joined  to  the 
house  by  a  curious  fence  of  gingerbread  figures. 
The  house  itself  is  constructed  of  sweets  and 
creams.  Attracted  by  its  delicious  fragrance  and 
toothsomeness,  the  hungry  children  break  off  a 
piece  and  are  nibbling  at  it,  when  the  old  witch 
within  surprises  and  captures  them.  After  a  series 
of  incantations,  and  much  riding  upon  her  broom- 
stick, which  are  vividly  portrayed  in  the  music,  she 


HANSEL  AND   CRETE L. 


147 


prepares  to  cook  Gretel  in  the  oven ;  but  while 
looking  into  it  the  children  deftly  tumble  her  into 
the  fire.  The  witch  waltz,  danced  by  the  chil- 
dren and  full  of  joyous  abandon,  follows.  To  a 
most  vivid  accompaniment,  Hansel  rushes  into  the 
house  and  throws  fruit,  nuts,  and  sweetmeats  into 
Gretel's  apron.  Meanwhile  the  oven  falls  into  bits, 
and  a  crowd  of  children  swarms  around  them, 
released  from  their  gingerbread  disguises,  and  sing 
a  swelling  chorus  of  gratitude  as  two  of  the  boys 
drag  the  witch  from  the  ruins  of  the  oven  in  the 
form  of  a  big  gingerbread-cake.  The  father  and 
mother  appear.  Their  long  quest  is  ended.  The 
family  join  in  singing  a  pious  little  hymn,  "  When 
past  bearing  is  our  grief,  God  the  Lord  will  send 
relief;  "  and  the  children  dance  joyously  around  the 
reunited  group. /The  story  is  only  a  little  child's 
tale,  but  it  is  wedded  to  music  of  the  highest  order.  / 
The  union  has  been  made  so  deftly,  the  motives  are 
so  charming  and  take  their  places  so  skilfully,  and 
the  music  is  so  scholarly  and  characteristic  through- 
out, that  no  one  has  yet  considered  this  union  as 
incongruous.  In  this  respect  "  Hansel  and  Gretel  *' 
is  a  distinct  creation  in  the  operatic  world. 


LEONCAVALLO. 

UGGIERO  LEONCAVALLO,  a  prom- 
ising representative  of  the  young  Italian 
school,  was  born  in  Naples,  March  8, 
1858.  He  first  studied  with  Siri,  and 
afterwards  learned  harmony  and  the  piano  from 
Simonetti.  While  a  student  at  the  Naples  Conser- 
vatory he  was  advised  by  Rossi,  one  of  his  teachers, 
to  devote  himself  to  opera.  In  pursuance  of  this 
counsel,  he  went  to  Bologna,  and  there  wrote  his 
first  opera,  "  Tommaso  Chatterton,"  which  still 
remains  in  manuscript  and  unperformed.  Then 
followed  a  series  of  "  wander  years,"  during  which 
he  visited  many  European  countries,  giving  lessons 
in  singing  and  upon  the  piano,  and  meeting  with 
varying  fortunes.  In  all  these  years,  however,  he 
cherished  the  plan  of  producing  a  trilogy  in  the 
Wagnerian  manner  with  a  groundwork  from  Floren- 
tine history.  In  a  letter  he  says  :  "  I  subdivided 
the  historical  periods  in  the  following  way :  first 
part,  '  I  Medici,'  from  the  accession  of  Sextus  IV. 


I  PAGLIACCI. 


149 


to  the  Pazzi  conspiracy  ;  second  part,  '  Savono- 
rola,'  from  the  investiture  of  Fra  Benedetto  to  the 
death  of  Savonorola  ;  third  part,  '  Cesare  Borgia,' 
from  the  death  of  the  Duke  of  Candia  to  that  of 
Alexander  VI."  The  first  part  was  completed  and 
performed  in  Milan  in  November,  1893,  and  was  a 
failure,  notwithstanding  its  effective  instrumentation. 
It  was  not  so,  however,  with  the  little  two-act  opera 
"  I  Pagliacci,"  which  was  produced  May  21,  1892,  at 
Milan,  and  met  with  an  instantaneous  and  enthusias- 
tic success.  His  next  work  was  a  chorus  with  or- 
chestral accompaniment,  the  text  based  upon  Balzac's 
rhapsodical  and  highly  wrought  "  Seraphita,"  which 
was  performed  at  Milan  in  1894.  It  has  been 
recently  reported  that  the  Emperor  of  Germany 
has  given  him  a  commission  to  produce  an  opera 
upon  a  national  subject,  "  Roland  of  Berlin."  Of 
his  works,  "  I  Pagliacci  "  is  the  only  one  known  in 
the  United  States.  It  has  met  with  great  favor 
here,  and  has  become  standard  in  the  Italian 
repertory. 


"  I  Pagliacci,"  an  Italian  opera  in  two  acts, 
words  by  the  composer,  Ruggiero  Leoncavallo,  was 
first  performed  at  Milan,  May  21,  1892,  and  was 
introduced  in  this  country  in  the  spring  of  1894, 
Mme.  Arnoldson,  Mme.  Calve,  and  Signers  Ancona, 
Gromzeski,  Guetary,  and  De  Lucia  taking  the  prin- 
cipal parts.  The  scene  is  laid  in  Calabria  during 


150      THE  STANDARD  OPERAS. 

the  Feast  of  the  Assumption.  The  Pagliacci  are  a 
troupe  of  itinerant  mountebanks,  the  characters 
being  Nedda,  the  Columbine,  who  is  wife  of  Canio, 
or  Punchinello,  master  of  the  troupe  ;  Tonio,  the 
Clown ;  Beppe,  the  Harlequin ;  and  Silvio,  a 
villager. 

The  first  act  opens  with  the  picturesque  arrival  of 
the  troupe  in  the  village,  and  the  preparations  for  a 
performance  in  the  rustic  theatre,  with  which  the 
peasants  are  overjoyed.  The  tragic  element  of  the 
composition  is  apparent  at  once,  and  the  action 
moves  swiftly  on  to  the  fearful  denouement.  Tonio, 
the  clown,  is  in  love  with  Nedda,  and  before  the 
performance  makes  advances  to  her,  which  she 
resents  by  slashing  him  across  the  face  with  Beppe's 
riding-whip.  He  rushes  off  vowing  revenge,  and 
upon  his  return  overhears  Nedda  declaring  her 
passion  for  Silvio,  a  young  peasant,  and  arranging 
to  elope  with  him.  Tonio  thereupon  seeks  Canio, 
and  tells  him  of  his  wife's  infidelity.  Canio  hurries 
to  the  spot,  encounters  Nedda  ;  but  Silvio  has  fled, 
and  she  refuses  to  give  his  name.  He  attempts  to 
stab  her,  but  is  prevented  by  Beppe,  and  the  act 
closes  with  the  final  preparation  for  the  show,  the 
grief-stricken  husband  donning  the  motley  in 
gloomy  and  foreboding  silence. 

The  second  act  opens  with  Tonio  beating  the 
big  drum,  and  the  people  crowding  to  the  show, 
among  them  Silvio,  who  manages  to  make  an  ap- 
pointment with  Nedda  while  she  is  collecting  the 
money.  The  curtain  of  the  little  theatre  rises,  dis- 


7  PAGLIACCI.  151 

closing  a  small  room  barely  furnished.  The  play  to 
be  performed  is  almost  an  identical  picture  of  the 
real  situation  in  the  unfortunate  little  troupe.  Col- 
umbine, who  is  to  poison  her  husband,  Punchi- 
nello, is  entertaining  her  lover.  Harlequin,  while 
Taddeo,  the  clown,  watches  for  Punchinello's  re- 
turn. When  Canio  finally  appears  the  mimic  tragedy 
becomes  one  in  reality.  Inflamed  with  passion,  he 
rushes  upon  Nedda,  and  demands  the  name  of  her 
lover.  She  still  refuses  to  tell.  He  draws  his  dag- 
ger. Nedda,  conscious  of  her  danger,  calls  upon 
Silvio  in  the  audience  to  save  her;  but  it  is  too 
late.  Her  husband  kills  her,  and  Silvio,  who  rushes 
upon  the  stage,  is  killed  with  the  same  dagger. 
With  a  wild  cry  full  of  hate,  jealousy,  and  despair, 
the  unfortunate  Canio  tells  the  audience  "  La  corn- 
media  e  finita  "  ("  The  comedy  is  finished  ").  The 
curtain  falls  upon  the  tragedy,  and  the  excited  audi- 
ence disperses. 

The  story  is  peculiarly  Italian  in  its  motive, 
though  the  composer  has  been  charged  with  taking 
it  from  "  La  Femme  de  Tabarin,"  by  the  French 
novelist,  Catulle  Mendes.  Be  this  as  it  may,  Leon- 
cavallo's version  has  the  merit  of  brevity,  con- 
ciseness, ingenuity,  and  swift  action,  closing  in  a 
de'nouement  of  great  tragic  power  and  capable,  in 
the  hands  of  a  good  actor,  of  being  made  very 
effective.  The  composer  has  not  alone  been 
charged  with  borrowing  the  story,  but  also  with 
plagiarizing  the  music.  So  far  as  the  accusation  of 
plagiarism  is  concerned,  however,  it  hardly  involves 


152 


THE  STANDARD   OPERAS. 


anything  more  serious  than  those  curious  resem- 
blances which  are  so  often  found  in  musical  com- 
positions. As  a  whole,  the  opera  is  melodious, 
forceful,  full  of  snap  and  go,  and  intensely  dra- 
matic, and  is  without  a  dull  moment  from  the  pro- 
logue ("Si  puo?  Signore")  sung  before  the  cur- 
tain by  Tonio  to  that  last  despairing  outcry  of 
Canio  ("La  commedia  e  finita"),  upon  which  the 
curtain  falls.  The  prominent  numbers  are  the 
prologue  already  referred  to ;  Nedda's  beautiful 
cavatina  in  the  second  scene  ("  O,  che  volo  d'an- 
gello  ")  ;  her  duet  with  Silvio'  in  the  third  scene  ("  E 
allor  perche  ")  ;  the  passionate  declamation  of  Canio 
at  the  close  of  the  first  act  ("  Recitur  !  mentre  preso 
dal  delirio  ")  ;  the  serenade  of  Beppe  in  the  second 
act  ("  O  Colombino,  il  tenero  ")  ;  and  the  graceful 
dance-music  which  plays  so  singular  a  part  in  this 
fierce  struggle  of  the  passions,  which  forms  the 
motive  of  the  closing  scenes. 


MASCAGNI. 


IIETRO  MASCAGNI,  who  leaped  into 
fame  at  a  single  bound,  was  born  at 
Leghorn,  Dec.  7,  1863.  His  father  was 
a  baker,  and  had  planned  for  his  son  a 
career  in  the  legal  profession ;  but,  as  often  happens, 
fate  ordered  otherwise.  His  tastes  were  distinctly 
musical,  and  his  determination  to  study  music  was 
encouraged  by  Signor  Bianchi,  a  singing  teacher, 
who  recognized  his  talent.  For  a  time  he  took 
lessons,  unknown  to  his  father,  of  Soffredini,  but 
when  it  was  discovered  he  was  ordered  to  abandon 
music  and  devote  himself  to  the  law.  At  this  junc- 
ture his  uncle  Stefano  came  to  his  rescue,  took  him 
to  his  house,  provided  him  with  a  piano,  and  also 
with  the  means  to  pursue  his  studies.  Recognizing 
the  uselessness  of  further  objections,  the  father  at 
last  withdrew  them,  and  left  his  son  free  to  follow 
his  own  pleasure.  He  progressed  so  rapidly  under 
Soffredini  that  he  was  soon  engaged  in  composition, 
his  first  works  being  a  symphony  in  C  minor  and  a 


IS4  THE  STANDARD   OPERAS. 

"Kyrie,"  which  were  performed  in  1879.  In  1881 
he  composed  a  cantata, "  In  Filanda,"  and  a  setting 
of  Schiller's  hymn,  "  An  die  Freude,"  both  of  which 
had  successful  public  performances.  The  former 
attracted  the  attention  of  a  rich  nobleman  who  fur- 
nished young  Mascagni  with  the  means  to  attend 
the  Milan  Conservatory.  After  studying  there  a 
short  time,  he  suddenly  left  Milan  with  an  operatic 
troupe,  and  visited  various  Italian  cities,  a  pilgrim- 
age which  was  of  great  value  to  him,  as  it  made  him 
acquainted  with  the  resources  of  an  orchestra  and 
the  details  of  conducting.  The  troupe,  however, 
met  with  hard  fortunes,  and  was  soon  disbanded, 
throwing  Mascagni  upon  the  world.  For  a  few 
years  he  made  a  precarious  living  in  obscure  towns, 
by  teaching,  and  had  at  last  reached  desperate  ex- 
tremities when  one  day  he  read  in  a  newspaper  that 
Sonzogno,  the  music  publisher,  had  offered  prizes 
for  the  three  best  one  act  operas,  to  be  performed 
in  Rome.  He  at  once  entered  into  the  competition, 
and  produced  "  Cavalleria  Rusticana."  It  took  the 
first  prize.  It  did  more  t'han  this  for  the  impecu- 
nious composer.  When  performed,  it  made  a  suc- 
cess of  enthusiasm.  He  was  called  twenty  times 
before  the  curtain.  Honors  and  decorations  were 
showered  upon  him.  He  was  everywhere  greeted 
with  serenades  and  ovations.  Every  opera-house 
in  Europe  clamored  for  the  new  work.  In  a  day 
he  had  risen  from  utter  obscurity  and  become 
world-famous.  His  sudden  popularity,  however,  had 
a  pernicious  effect,  as  it  induced  him  to  rush  out 


CAVALLERIA   RUSTIC  AN  A. 


T55 


more  operas  without  giving  sufficient  time  to  their 
preparation.  "  L'Amicp  Fritz,"  based  upon  the 
well-known  Erckmann-Chatrian  story,  and  "  I  Rant- 
zau  "  quickly  followed  "  Cavalleria  Rusticana,"  but 
did  not  meet  with  its  success.  Last  year  however 
he  produced  two  operas  at  Milan,  "  Guglielmo 
Ratcliff"  and  "Silvano,"  which  proved  successful. 
Whether  "Cavalleria  Rusticana"  is  to  remain  as  his 
only  hold  upon  popular  favor,  the  future  alone  can 
tell ;  but  that  he  has  talent  of  the  highest  order,  and 
that  he  has  produced  an  opera  whose  reception  has 
been  almost  unparalleled  in  the  world  of  music  can- 
not be  questioned. 

Caballcria  &usticana. 

"  Cavalleria  Rusticana,"  an  opera  in  one  act,  words 
by  Signori  Targioni-Tozzetti  and  Menasci,  music  by 
Pietro  Mascagni,  was  written  in  1890,  and  was  first 
performed  at  the  Costanzi  Theatre  in  Rome,  May  20, 
of  that  year,  with  Gemma  Bellinconi  and  Roberto 
Stagno  in  the  two  principal  roles.  It  had  its  first 
American  production  in  Philadelphia,  Sept.  9,  1891, 
with  Mme.  Kronold  as  Santuzza,  Miss  Campbell  as 
Lola,  Guille  as  Turridu,  Del  Puente  as  Al/to,  and 
Jeannie  Teal  as  Lucia. 

The  story  upon  which  the  text  of  "  Cavalleria 
Rusticana  "  is  based  is  taken  from  a  Sicilian  tale  by 
Giovanni  Verga.  It  is  peculiarly  Italian  in  its  mo- 
tive, running  a  swift,  sure  gamut  of  love,  flirtation, 
jealousy,  and  death,  —  a  melodrama  of  a  passionate 


'56 


THE  STANDARD   OPERAS. 


and  tragic  sort,  amid  somewhat  squalid  environ- 
ments, that  particularly  lends  itself  to  music  of 
Mascagni's  forceful  sort.  The  overture  graphically 
presents  the  main  themes  of  the  opera,  and  these 
themes  illustrate  a  very  simple  but  strong  story. 
Turridu,  a  young  Sicilian  peasant,  arrived  home 
from  army  service,  finds  that  his  old  love,  Lola,  dur- 
ing his  absence  has  married  Alfio,  a  carter.  To 
console  himself  he  makes  love  to  Santuzza,  who 
returns  his  passion  with  ardor.  The  inconstant 
Turridu,  however,  soon  tires  of  her  and  makes  fresh 
advances  to  Lola,  who,  inspired  by  her  jealousy  of 
Santuzza,  and  her  natural  coquetry,  smiles  upon 
him  again.  The  latter  seeks  to  reclaim  him,  and, 
when  she  is  rudely  repulsed,  tells  the  story  of  Lola's 
perfidy  to  Alfio,  who  challenges  Turridu  and  kills 
him. 

i  During  the  overture  Turridu  sings  a  charming 
Siciliana  ("O  Lola  c'hai  di  latti  "),  and  the  curtain 
rises,  disclosing  a  Sicilian  village  with  a  church 
decorated  for  Easter  service.  As  the  sacristan 
opens  its  doors,  the  villagers  appear  and  sing  a 
hymn  to  the  Madonna.  A  hurried  duet  follows,  in 
which  Santuzza  reveals  to  mother  Lucia  her  grief 
at  the  perfidy  of  Turridu.  Her  discourse  is  inter- 
rupted by  the  entrance  of  Alfio,  singing  a  rollicking 
whip-song  ("II  cavallo  scalpita  ")  with  accompani- 
ment of  male  chorus.  The  scene  then  develops 
into  a  trio,  closing  with  a  hymn  ("  Inneggiamo,  il 
Signor  "),  sung  by  the  people  in  the  square,  and  led 
by  Santuzza  herself,  and  blending  with  the  "  Regina 


CAVALLERIA   RUSTIC  AHA. 


'57 


Coeli,"  performed  by  the  choir  inside  the  church 
with  organ  accompaniment,  the  number  finally 
working  up  into  a  tremendous  climax  in  genuine 
Italian  style,  j 

fin  the  next  scene  Santuzza  tells  her  sad  story 
to  Lucia,  Turridu's  mother,  in  a  romanza  of  great 
power  ("  Voi  lo  sapete  "),  closing  with  an  outburst 
of  the  highest  significance  as  she  appeals  to  Lucia 
to  pray  for  her.  In  the  next  scene  Turridu  enters. 
Santuzza  upbraids  him,  and  a  passionate  duet  fol- 
lows in  which  Santuzza's  suspicions  are  more  than 
confirmed  by  his  avowal  of  his  passion  for  Lola. 
The  duet  is  interrupted  by  a  song  of  the  latter,  heard 
in  the  distance  with  harp  accompaniment  ("  Fior 
di  giaggiolo ").  As  she  approaches  the  pair  the 
song  grows  livelier,  and  at  its  close  she  banters  poor 
Santuzza  with  biting  sarcasms,  and  assails  Turridu 
with  all  the  arts  of  coquetry.  She  passes  into  the 
church,  confident  that  the  infatuated  Turridu  will 
follow  her.  An  impassioned  duo  of  great  power  fol- 
lows, in  which  Sintuzza  pleads  with  him  to  love 
her,  but  all  in  vain.  He  rushes  into  the  church. 
She  attempts  to  follow  him,  but  falls  upon  the  steps 
just  as  Alfio  comes  up.  To  him  she  relates  the 
story  of  her  troubles,  and  of  Turridu's  baseness. 
Alfio  promises  to  revenge  her,  and  another  powerful 
duet  follows. 

As  they  leave  the  stage,  there  is  a  sudden  and 
most  unexpected  change  in  the  character  of  the 
music  and  the  motive  of  the  drama.  In  the  place 
of  struggle,  contesting  passions,  and  manifestations 


'58 


THE  STANDARD   OPERAS. 


of  rage,  hate,  and  jealousy  ensues  an  intermezzo  for 
orchestra,  with  an  accompaniment  of  harps  and 
organ,  of  the  utmost  simplicity  and  sweetness, 
breathing  something  like  a  sacred  calm,  and  turning 
the  thoughts  away  from  all  this  human  turmoil  into 
conditions  of  peace  and  rest.  It  has  not  only  be- 
come one  of  the  most  favorite  numbers  in  the  con- 
cert repertory,  but  is  ground  out  from  every  barrel- 
organ  the  world  over,  and  yet  it  has  retained  its 
hold  upon  popular  admiration. 

At  its  close  the  turmoil  begins  again  and  the 
action  hastens  to  the  tragic  de'nouement.  The 
people  come  out  of  the  church  singing  a  glad 
chorus  which  is  followed  by  a  drinking  song  ("Viva 
il  vino"),  sung  by  Turridu,  and  joined  in  by  Lola 
and  chorus.  In  the  midst  of  the  hilarity  Alfio  ap- 
pears. Turridu  invites  him  to  join  them  and  drink  ; 
but  he  refuses,  and  the  quarrel  begins.  Lola  and 
the  frightened  women  withdraw.  Turridu  bites 
Alfio's  right  ear,  —  a  Sicilian  form  of  challenge.  The 
scene  closes  with  the  death  of  the  former  at  Alfio's 
hands,  and  Santuzza  is  avenged  ;  but  the  fickle  Lola 
has  gone  her  way  bent  upon  other  conquests^ 


MEYERBEER. 

iHACOMO  MEYERBEER,  the  eldest  son 
of  Herz  Beer,  was  born  in  Berlin,  Sept.  5, 
1 794.  He  was  named  Jacob  Meyer  Beer, 
but  afterwards  called  himself  Giacomo 
Meyerbeer.  His  early  studies  were  pursued  with  the 
pianist  Lanska,  and  Bernard  Anselm  Weber,  chief  of 
the  Berlin  orchestra.  At  fifteen  he  became  the  pupil 
of  Vogler  in  Darmstadt,  with  whom  he  displayed 
such  talent  in  composition  that  he  was  named  Com- 
poser to  the  Court  by  the  Grand  Duke.  At  eighteen 
his  first  dramatic  work,  "  The  Daughter  of  Jephtha," 
was  performed  at  Munich.  He  then  began  the 
world  for  himself,  and  made  his  debut  in  Vienna  as 
a  pianist  with  great  success.  His  first  opera,  "  The 
Two  Caliphs,"  met  with  complete  failure,  as  it  was 
not  written  in  the  Italian  form.  He  at  once  trans- 
formed his  style  and  brought  out  "  Romilda  e 
Costanza,"  a  serio-comic  opera,  with  great  success, 
at  Padua.  In  1820,  "Emma  di  Resburgo "  ap- 
peared at  Venice,  and  from  this  period  his  star  was 


j6o       THE  STANDARD  OPERAS. 

in  the  ascendant.  "The  Gate  of  Brandeburg," 
"  Margharita  d' Anjou,"  "  Esule  di  Granata,"  and 
"  Almanzar  "  followed  in  quick  succession,  and  were 
well  received,  though  with  nothing  like  the  furor 
which  "  II  Crociato  in  Egitto  "  created  in  Venice  in 
1824.  His  next  great  work,  "Robert  le  Diable," 
was  produced  in  Paris,  Nov.  21,  1831,  the  unparal- 
leled success  of  which  carried  its  fame  to  every  part 
of  the  civilized  world.  In  1836  "The  Huguenots," 
unquestionably  his  masterpiece,  was  brought  out, 
and  it  still  holds  its  place  as  one  of  the  grandest 
dramatic  works  the  world  has  ever  seen.  In  1838 
Scribe  furnished  him  the  libretto  of  "  L'Africaine," 
but  before  the  music  was  finished  he  had  changed 
the  text  so  much  that  Scribe  withdrew  it  altogether. 
He  was  consoled,  however,  by  Meyerbeer's  taking 
from  him  the  libretto  of  "  Le  Prophete,"  this  opera 
being  finished  in  1843.  During  the  following  year 
he  wrote  several  miscellaneous  pieces  besides  the 
three-act  German  opera,  "  Ein  Feldlager  in  Schle- 
sien,"  in  which  Jenny  Lind  made  her  Berlin  debut. 
In  1846  he  composed  the  overture  and  incidental 
music  to  his  brother's  drama  of  "  Struensee,"  and  in 
1847  he  not  only  prepared  the  way  for  Wagner's 
"  Flying  Dutchman  "  in  Paris,  but  personally  pro- 
duced "Rienzi,"  —  services  which  Wagner  poorly 
requited.  In  1849  "  Le  Prophete"  was  given  in 
Paris  ;  in  1854,  "  L'Etoile  du  Nord  ;  "  and  in  1859, 
"  Dinorah  ;  "  but  none  of  them  reached  the  fame  of 
"The  Huguenots."  In  1860  he  wrote  two  cantatas 
and  commenced  a  musical  drama  called  "  Goethe's 


THE  HUGUENOTS.  jgj 

Jugendzeit,"  which  was  never  finished.  In  1862 
and  1863  he  worked  upon  "  L'Africaine,"  and  at 
last  brought  it  forward  as  far  as  a  rehearsal ;  but  he 
died  April  23,  1863,  and  it  was  not  performed  until 
two  years  after  his  death. 


"Les  Huguenots,"  a  grand  opera  in  five  acts, 
words  by  Scribe  and  Deschamps,  was  first  produced 
at  the  Academic,  Paris,  Feb.  29,  1836,  with  the  fol- 
lowing cast  of  the  principal  parts  :  — 

VALENTIN Mile.  FALCON. 

MARGUERITE  DE  VALOIS    ....  Mme.  DORUS-GRAS. 

URBAIN Mile.  FLECHEUX. 

COUNT  DE  ST.  BRIS M.  LERDA. 

COUNT  DE  NEVERS M.  DERIVIS. 

RAOUL  DE  NANGIS M.  NOURRIT. 

MARCEL M.  LEVASSEUR. 

At  its  first  production  in  London  in  Italian,  as 
"  Gli  Ugonotti,"  July  20,  1848,  the  cast  was  even 
more  remarkable  than  that  above.  Meyerbeer 
specially  adapted  the  opera  for  the  performance, 
transposed  the  part  of  the  page,  which  was  written 
for  a  soprano,  and  expressly  composed  a  cavatina 
to  be  sung  by  Mme.  Alboni,  in  the  scene  of  the 
chateau  and  gardens  of  Chenonceaux,  forming  the 
second  act  of  the  original  work,  but  now  given  as 
the  second  scene  of  the  first  act  in  the  Italian  ver- 
sion. The  cast  was  as  follows  :  — 


!62  THE  STANDARD    OPERAS. 

VALENTIN Mme.  PAULINE  VIARDOT. 

MARGUERITE  DE  VALOIS    .    .  Mme.  CASTELLAN. 

URBAIN Mile.  ALBONI. 

COUNT  DE  ST.  BRIS      .    .    .  Sig.  TAMBURINI, 

COUNT  DE  NEVERS   ....  Sig.  TAGLIAFICO. 

RAOUL  DE  NANGIS   ....  Sig.  MARIO. 

MARCEL Sig.  MARINI. 

The  action  of  the  opera  passes  in  1572,  the  first 
and  second  acts  in  Touraine,  and  the  remainder  in 
Paris.  The  first  act  opens  on  a  scene  of  revelry  in 
the  salon  of  Count  de  Nevers,  where  a  number  of 
noblemen,  among  them  Raoul  de  Nangis,  a  Protes- 
tant, accompanied  by  his  faithful  old  Huguenot  ser- 
vant, Marcel,  are  present,  telling  stories  of  their  ex- 
ploits in  love.  Marguerite  de  Valois,  the  betrothed 
of  Henry  IV.,  for  the  sake  of  reconciling  the  dispute 
between  the  two  religious  sects,  sends  her  page  to 
De  Nevers's  salon  and  invites  Raoul  to  her  chateau. 
When  he  arrives,  Marguerite  informs  him  of  her 
purpose  to  give  him  in  marriage  to  a  Catholic  lady, 
daughter  of  the  Count  de  St.  Bris.  Raoul  at  first 
consents ;  but  when  Valentin  is  introduced  to  him 
and  he  discovers  her  to  be  a  lady  whom  he  had 
once  rescued  from  insult  and  who  had  visited  De 
Nevers  in  his  salon,  he  rejects  the  proposition,  be- 
lieving that  her  affections  have  been  bestowed  upon 
another,  and  that  his  enemies  are  seeking  to  entrap 
him.  St.  Bris  challenges  Raoul  for  the  affront,  but 
the  Queen  disarms  the  angry  combatants.  Valentin 
is  now  urged  to  marry  Count  de  Nevers,  and  begs 
that  she  may  pass  the  day  in  prayer  in  the  chapel. 
Meanwhile  Count  de  St.  Bris,  who  has  been  chal- 


THE  HUGUENOTS.  ^3 

lenged  by  Raoul,  forms  a  plot  for  his  assassination, 
which  is  overheard  by  Valentin  from  within  the 
chapel.  She  communicates  the  plot  to  Marcel,  who 
lies  in  wait  with  a  party  of  Huguenots  in  the  vicinity 
of  the  duel,  and  comes  to  Raoul's  rescue  when 
danger  threatens  him.  A  general  combat  is  about 
to  ensue,  but  it  is  suppressed  by  Marguerite,  who 
suddenly  appears  upon  the  scene.  Raoul  thus  dis- 
covers that  he  owes  his  life  to  Valentin,  and  that 
her  visit  to  De  Nevers  was  to  induce  him  to  sever 
the  relations  between  them,  as  she  was  in  love  with 
Raoul.  The  announcement  comes  too  late,  for 
the  marriage  festivities  have  already  begun.  Raoul 
visits  her  for  the  last  time.  Their  interview  is  dis- 
turbed by  the  approach  of  De  Nevers,  St.  Bris,  and 
other  Catholic  noblemen,  who  meet  to  arrange  the 
details  of  the  plot  conceived  by  Catherine  de  Medi- 
cis  for  the  slaughter  of  the  Huguenots  on  St.  Bar- 
tholomew's Eve.  Valentin  hurriedly  conceals  Raoul 
behind  the  tapestries,  where  he  overhears  their  plans 
and  witnesses  the  conjuration  and  the  blessing  of 
the  swords,  as  well  as  the  refusal  of  the  chivalrous 
De  Nevers  to  engage  in  murder.  After  the  con- 
spirators have  departed,  Raoul  and  Valentin  have  a 
long  and  affecting  interview,  in  which  he  hesitates 
between  love  and  honor,  Valentin  striving  to  detain 
him  lest  he  may  be  included  in  the  general  massacre. 
Honor  at  last  prevails,  and  he  joins  his  friends 
just  before  the  work  of  slaughter  begins.  He 
rushes  to  the  festivities  which  are  about  to  be  given 
in  honor  of  the  marriage  of  Marguerite  with  the  King 


!64  THE  STANDARD   OPERAS. 

of  Navarre,  and  warns  the  Huguenots  of  their  danger. 
He  then  makes  his  way  to  a  chapel  where  many  of 
them  are  gathered  for  refuge.  He  finds  Marcel, 
who  has  been  wounded,  and  who  brings  him  the 
tidings  of  the  death  of  De  Nevers.  The  faithful 
Valentin  joins  them  to  share  their  fate.  Amid  the 
horrors  of  the  massacre  Marcel  blesses  and  unites 
them.  They  enter  the  church  and  all  perish  to- 
gether. 

The  first  act  opens  with  the  brilliant  chorus  of 
the  revellers  ("  Piacer  della  mensa  "),  which  is  full  of 
courtly  grace.  Raoul  tells  the  story  of  the  unknown 
fair  one  he  has  encountered,  in  the  romanza,  "  Piu 
bianca  del  velo«"  When  Marcel  is  called  upon,  he 
hurriedly  chants  the  hymn,  "  O  tu  che  ognor,"  set 
to  the  Martin  Luther  air,  "  Ein  feste  Burg,"  and 
heightened  by  a  stirring  accompaniment,  and  then 
bursts  out  into  a  graphic  song  ("  Finita  e  pe'  frati  "), 
emphasized  with  the  piff-paff  of  bullets  and  full  of 
martial  fervor.  In  delightful  contrast  with  the  fierce 
Huguenot  song  comes  the  lively  and  graceful  romanza 
of  Urbain  ("  Nobil  donna  e  tanto  onesta  "),  followed 
by  a  delightful  septet.  The  scene  now  changes,  and 
with  it  the  music.  We  are  in  the  Queen's  gardens 
at  Chenonceaux.  Every  number,  the  Queen's  solo 
("  A  questa  voce  sola "),  the  delicate  "  Bathers' 
Chorus,"  as  it  is  called  ("  Audiam,  regina,  in  questo 
amene  sponde  "),  the  brilliant  and  graceful  allegretto 
sung  by  Urbain  ("  No,  no,  no,  no  "),  the  duet  be- 
tween the  Queen  and  Raoul,  based  upon  one  of  the 
most  flowing  of  melodies,  and  the  spirited  and  effec- 


THE  HUGUENOTS.  165 

tive  finale  in  which  the  nobles  take  the  oath  of  alle- 
giance ("  Per  la  fe,  per  1'  onore  "),  —  each  and  every 
one  of  these  is  colored  with  consummate  skill, 
while  all  are  invested  with  chivalrous  refinement  and 
stately  grace. 

The  second  act  opens  with  a  beautiful  choral 
embroidery  in  which  different  choruses,  most  strik- 
ing in  contrast,  are  interwoven  with  masterly  skill. 
It  is  a  picture,  in  music,  of  the  old  Paris.  The  citi- 
zens rejoice  over  their  day's  work  done.  The 
Huguenots  shout  their  lusty  Rataplan,  while  the 
Papist  maidens  sing  their  solemn  litany  ("  Ave 
Maria  ")  on  their  way  to  chapel ;  and  as  they  disap- 
pear, the  quaint  tones  of  the  curfew  chant  are  heard, 
and  night  and  rest  settle  down  upon  the  city.  It  is 
a  striking  introduction  to  what  follows,  —  the  ex- 
quisite duet  between  Marcel  and  Valentin,  the  great 
septet  of  the  duel  scene,  beginning,  "  De  dritti 
miei  ho  1*  alma  accesa,'"  with  the  tremendous 
double  chorus  which  follows  as  the  two  bands  rush 
upon  the  scene.  As  if  for  relief  from  the  storm 
of  this  scene,  the  act  closes  with  brilliant  pageant 
music  as  De  Nevers  approaches  to  escort  Valentin 
to  her  bridal. 

The  third  act  is  the  climax  of  the  work,  and 
stands  almost  unrivalled  in  the  field  of  dramatic 
music,  for  the  manner  in  which  horror  and  passion 
are  illustrated.  After  a  dark  and  despairing  aria 
by  Valentin  ("  Eccomi  sola  ormai "),  and  a  brief 
duet  with  Raoul,  the  conspirators  enter.  The  great 
trio,  closing  with  the  conjuration,  "  Quel  Dio,"  the 


1 66  THE  STANDARD   OPERAS. 

awful  and  stately  chant  of  the  monks  in  the  bless- 
ing of  the  unsheathed  daggers  ("Sia  gloria  eterna 
e  onore"),  and  the  thrilling  unisons  of  the  chorus 
("  D'  un  sacro  zel  1'  ardore  "),  which  fairly  glow  with 
energy,  fierceness,  and  religious  fury,  —  these  num- 
bers of  themselves  might  have  made  an  act ;  but 
Meyerbeer  does  not  pause  here.  He  closes  with  a 
duet  between  Raoul  and  Valentin  which  does  not 
suffer  in  comparison  with  the  tremendous  combina- 
tions which  have  preceded  it.  It  is  filled  with  the 
alternations  of  despair  and  love,  of  grief  and  ecstasy. 
In  its  movement  it  is  the  very  whirlwind  of  passion. 
Higher  form  dramatic  music  can  hardly  reach.  In 
the  Italian  version  the  performance  usually  closes 
at  this  point ;  but  there  is  still  another  striking  and 
powerful  scene,  that  in  which  Raoul  and  Valentin 
are  united  by  the  dying  Marcel.  Then  the  three 
join  in  a  sublime  trio,  and  for  the  last  time  chant 
together  the  old  Lutheran  psalm,  and  await  their 
fate  amid  the  triumphant  harpings  that  sound  from 
the  orchestra  and  the  hosanna  they  sing  to  its 
accompaniment. 

®lje  £tar  of  the  Jlortl). 

"L'Etoile  du  Nord,"  an  opera  in  three  acts, 
words  by  Scribe,  was  first  performed  at  the  Opera 
Comique,  Paris,  Feb.  16,  1854,  and  in  Italian  as 
"  La  Stella  del  Nord  "  at  Covent  Garden,  London, 
July  19,  1855.  In  English  it  has  been  produced 
under  the  title  of  "The  Star  of  the  North."  The 


THE  STAR   OF  THE  NORTH,  ^7 

opera  contains  several  numbers  from  the  composer's 
earlier  work,  "  Feldlager  in  Schlesien,"  which  was 
written  for  the  opening  of  the  Berlin  opera-house, 
in  memory  of  Frederick  the  Great,  and  was  sub- 
sequently (Feb.  17,  1847)  performed  with  great 
success  in  Vienna,  Jenny  Lind  taking  the  role  of 
Vielka.  The  "  Feldlager,"  however,  has  never  been 
given  out  of  Germany. 

The  action  of  the  opera  transpires  in  Wyborg,  on 
the  Gulf  of  Finland,  in  the  first  act,  at  a  camp  of 
the  Russians  in  the  second,  and  at  the  palace  of  the 
Czar  Peter  in  the  third.  In  the  first,  Peter,  who  is 
working  at  Wyborg,  disguised  as  a  carpenter,  makes 
the  acquaintance  of  Danilowitz,  a  pastry-cook,  and 
Catharine,  a  cantiniere,  whose  brother  George  is 
about  to  marry  Prascovia.  Catharine  brings  about 
this  marriage ;  and  not  only  that,  but  saves  the  little 
village  from  an  invasion  by  a  strolling  horde  of 
Tartars,  upon  whose  superstition  she  practises  suc- 
cessfully, and  so  conducts  herself  in  general  that 
Peter  falls  in  love  with  her,  and  they  are  betrothed, 
though  she  is  not  aware  of  the  real  person  who  is 
her  suitor.  Meanwhile  the  conscription  takes  place, 
and  to  save  her  newly  wedded  brother  she  volun- 
teers for  fifteen  days  in  his  place,  disguising  herself 
as  a  soldier.  In  the  next  act  we  find  Catharine 
going  her  rounds  as  a  sentinel  in  the  Russian  camp 
on  the  Finnish  frontier.  Peter  and  Danilowitz  are 
also  there,  and  are  having  a  roistering  time  in  their 
tent,  drinking  and  making  love  to  a  couple  of  girls. 
Hearing  Peter's  voice  she  recognizes  it,  and  curios- 


1 68  THE  STANDARD   OPERAS. 

ity  leads  her  to  peep  into  the  tent.  She  is  shocked 
at  what  she  beholds,  neglects  her  duty,  and  is  found 
by  the  corporal  in  this  insubordinate  condition. 
He  remonstrates  with  her,  and  she  answers  with  a 
slap  on  his  ears,  for  which  she  incurs  the  penalties 
of  disobedience  to  orders  as  well  as  insulting  beha- 
vior to  her  superior  officer.  Peter  at  last  is  roused 
from  his  drunkenness  by  the  news  of  an  insurrec- 
tion among  his  own  soldiers  and  the  approach  of 
the  enemy.  He  rushes  out  and  promises  to  give 
Peter  into  their  hands  if  they  will  obey  and  follow 
him.  At  last,  struck  with  his  bearing  and  authority, 
they  demand  to  know  who  he  is,  whereupon  he 
declares  himself  the  Czar.  The  mutiny  is  at  once 
quelled.  They  submit,  and  offer  their  lives  as  war- 
rant for  their  loyalty.  The  last  act  opens  in  the 
Czar's  palace,  where  his  old  companion,  Danilowitz, 
has  been  installed  in  high  favor.  Catharine,  how- 
ever, has  disappeared.  George  and  Prascovia  ar- 
rive from  Finland,  but  they  know  nothing  of  her. 
The  faithful  Danilowitz  finds  her,  but  she  has  lost 
her  reason.  Her  friends  try  to  restore  it  by  sur- 
rounding her  with  recollections  of  home,  and  Peter 
at  last  succeeds  by  playing  upon  his  flute  the  airs 
he  used  to  play  to  her  in  Finland.  Her  senses  come 
back,  and  thus  all  ends  happily ;  for  Catharine  and 
Peter  are  at  last  united  amid  the  acclamations  of 
the  people. 

In  the  first  act  the  character  of  Peter  is  well  ex- 
pressed in  the  surly,  growling  bass  of  his  soliloquy 
("  Vedra,  vedra  " ) .  It  is  followed  by  a  characteristic 


THE  STAR   OF  THE  NORTH. 


169 


drinking-chorus  ("Alia  Finlanda,  beviam  "),  a  wild, 
barbaric  rhythm  in  the  minor,  which  passes  into 
a  prayer  as  they  invoke  the  protection  of  Heaven 
upon  Charles  XII.  In  the  eighth  scene  occur  the 
couplets  of  Gritzensko  as  he  sings  the  wild  song  of 
the  Kalmucks.  In  charming  contrast,  in  the  next 
scene,  Catharine  sings  the  gypsy  rondo,  which 
Jenny  Lind  made  so  famous  ("  Wlastla  la  santa  "), 
which  is  characterized  by  graceful  coquetry;  and 
this  in  turn  is  followed  by  a  striking  duet  between 
Catharine  and  Peter,  in  which  the  individual  char- 
acteristics of  the  two  are  brought  out  in  genuine 
Wagnerian  style.  In  the  thirteenth  scene  occurs 
the  bridal  song  of  Prascovia  ("  Al  suono  dell'  ora  "), 
with  choral  accompaniment,  of  a  delicate  and  co- 
quettish cast,  leading  up  to  the  finale,  beginning 
with  the  soldiers'  chorus  ("  Onor  che  a  gloria  "), 
with  an  accompaniment  of  drums  and  fifes,  again 
passing  to  a  pathetic  prayer  ("Veglia  dal  ciel  su 
lor  ")  sung  by  Catharine  amid  the  ringing  of  bells 
as  the  bridal  wreath  is  placed  upon  Prascovia's 
head,  and  closing  with  a  florid  barcarole  ("  Vascel 
che  lasci  ")  as  she  sails  away. 

The  second  act  opens  with  ballet  music,  full  of 
Eastern  color,  and  then  ensues  one  of  those  choral 
combinations,  like  that  in  the  second  act  of  "the 
Huguenots,"  in  which  Meyerbeer  so  much  de- 
lighted,—  a  cavalry  chorus  ("Bel  cavalier  del  cuor 
d'acciar"),  followed  by  the  Grenadier's  song,  ac- 
companied by  chorus  ("  Granadier  di  Russia  es- 
perti  "),  the  chorus  taking  up  the  "  tr-r-r-um  " 


170 


THE  STANDARD   OPERAS. 


refrain  in  imitation  of  the  drum.  In  the  eighth 
scene  we  have  the  orgy  in  the  tent  in  the  form  of 
a  very  spirited  dramatic  trio,  in  which  Peter  sings 
a  blithe  drinking-song  ("  Vedi  al  par  del  rubino  ")  ; 
this  in  turn  resolving  into  a  quintet  ("Vezzose 
vivandiere  "),  and  again  into  a  sextet,  as  Ismailoff 
enters  with  a  letter  for  the  Czar.  The  finale  is  a 
superb  military  picture,  made  up  of  the  imposing 
oath  of  death  to  the  tyrant,  the  stirring  Dessauer 
march,  the  cavalry  fanfare,  and  the  Grenadiers' 
march,  interwoven  with  the  chorus  of  women  as 
they  cheer  on  the  marching  soldiers. 

The  third  act  opens  with  a  romanza  ("  Dal  cor 
per  iscacciare  "),  very  tender  and  beautiful,  in  which 
the  rugged  Czar  shows  us  the  sentimental  side  of 
his  character.  In  the  third  scene  occurs  a  long 
buffo  trio  between  Peter,  Gritzensko,  and  Danilo- 
witz,  which  is  full  of  humor.  In  the  finale  we  have 
Catharine  in  the  mad  scene,  singing  the  scena, 
"  L'  aurora  alfin  succede,"  with  bits  of  the  old 
music  running  through  the  accompaniment ;  and  in 
the  final  scene,  as  her  reason  returns,  breaking  out 
in  the  florid  bravura,  "  Non  s'  ode  alcun,"  accom- 
panied by  the  first  and  second  flutes,  which  is  a  tri- 
umph of  virtuosity  for  the  voice.  This  number  was 
taken  from  '-'The  Camp  in  Silesia,"  and  was  given 
by  Jenny  Lind  with  immense  success,  not  only  in 
the  latter  work,  but  upon  the  concert  stage.  The 
opera  as  a  whole  abounds  in  humor,  its  music  is 
fresh  and  brilliant,  and  its  military  character  makes 
it  specially  attractive. 


ROBERT  THE  DEVIL. 


Robert  the  peml. 

"  Robert  le  Diable,"  a  grand  opera  in  five  acts, 
words  by  Scribe  and  Delavigne,  was  first  produced 
at  the  Acade'mie,  Paris,  Nov.  21,  1831,  with  the 
following  cast :  — 

ALICE Mile.  DORUS. 

ISABELLE Mme.    CINTI-DAMOREAU. 

THE  ABBESS Sigr.  TAGLIONI. 

ROBERT M.  NOURRIT. 

BERTRAM M.  LEVASSEUR. 

RAIMBAUT M.  LAFONT. 

In  the  following  year  two  versions  in  English, 
both  of  them  imperfect,  were  brought  out  by  the 
rival  theatres,  Covent  Garden  and  Drury  Lane.  On 
the  2Oth  of  February  it  appeared  at  Drury  Lane 
under  the  title  of  "The  Demon;  or,  the  Mystic 
Branch,"  and  at  Covent  Garden  the  next  evening 
as  "  The  Fiend  Father,  or  Robert  Normandy." 
Drury  Lane  had  twenty-four  hours  the  start  of  its 
rival,  but  in  neither  case  were  the  representations 
anything  but  poor  imitations  of  the  original.  On 
the  nth  of  the  following  June  the  French  version 
was  produced  at  the  King's  Theatre,  London,  with 
the  same  cast  as  in  Paris,  except  that  the  part  of 
Alice  was  taken  by  Mme.  De  Meric,  and  that  of  the 
Abbess  by  the  danseuse  Mile.  Heberle".  On  the 
4th  of  May,  1847,  the  first  Italian  version  was  pro- 
duced at  Her  Majesty's  Theatre,  with  Jenny  Lind 
and  Staudigl  in  the  cast.  Gruneisen,  the  author 


172  THE  STANDARD   OPERAS. 

of  a  brief  memoir  of  Meyerbeer,  who  was  present, 
says :  "  The  night  was  rendered  memorable,  not 
only  by  the  massacre  attending  the  general  execu- 
tion, but  also  by  the  de"but  of  Mile.  Lind  in  this 
country,  who  appeared  as  Alice.  With  the  excep- 
tion of  the  debutante,  such  a  disgraceful  exhibition 
was  never  before  witnessed  on  the  operatic  stage. 
Mendelssohn  was  sitting  in  the  stalls,  and  at  the 
end  of  the  third  act,  unable  to  bear  any  longer  the 
executive  infliction,  he  left  the  theatre." 

The  libretto  of  "  Robert  the  Devil  "  is  absurd  in 
its  conceptions  and  sensational  in  its  treatment  of 
the  story,  notwithstanding  that  it  came  from  such 
famous  dramatists  as  Scribe  and  Delavigne ;  and  it 
would  have  been  still  worse  had  it  not  been  for 
Meyerbeer.  Scribe,  it  is  said,  wished  to  introduce 
a  bevy  of  sea-nymphs,  carrying  golden  oars,  as  the 
tempters  of  Robert;  but  the  composer  would  not 
have  them,  and  insisted  upon  the  famous  scene  of 
the  nuns,  as  it  now  stands,  though  these  were  after- 
wards made  the  butt  of  almost  endless  ridicule. 
Mendelssohn  himself,  who  was  in  Paris  at  this  time, 
writes  :  "I  cannot  imagine  how  any  music  could  be 
composed  on  such  a  cold,  formal  extravaganza  as 
this."  The  story  runs  as  follows  :  The  scene  is  laid 
in  Sicily,  where  Robert,  Duke  of  Normandy,  who 
by  his  daring  and  gallantries  had  earned  the  so- 
briquet of  "  the  Devil,"  banished  by  his  own  sub- 
jects, has  arrived  to  attend  a  tournament  given  by 
the  Duke  of  Messina.  In  the  opening  scene,  while 
he  is  carousing  with  his  knights,  the  minstrel  Raim- 


ROBERT  THE  DEVIL. 


173 


baut  sings  a  song  descriptive  of  the  misdeeds  of 
Robert.  The  latter  is  about  to  revenge  himself  on 
the  minstrel,  when  Alice,  his  foster-sister  and  the 
betrothed  of  Raimbaut,  appears  and  pleads  with 
him  to  give  up  his  wicked  courses,  and  resist  the 
spirit  of  evil  which  is  striving  to  get  the  mastery  of 
him.  Robert  then  confides  to  Alice  his  hopeless 
passion  for  Isabella,  daughter  of  the  Duke.  While 
they  are  conversing,  Bertram,  "  the  unknown,"  en- 
ters, and  Alice  shrinks  back  affrighted,  fancying  she 
sees  in  him  the  evil  spirit  who  is  luring  Robert  on 
to  ruin.  After  she  leaves,  Bertram  entices  him  to 
the  gaming-table,  from  which  he  rises  a  beggar,  — 
and  worse  than  this,  he  still  further  prejudices  his 
cause  with  Isabella  by  failing  to  attend  the  tourna- 
ment, thus  forfeiting  his  knightly  honor. 

The  second  act  opens  upon  an  orgy  of  the  evil 
spirits  in  the  cavern  of  St.  Irene.  Bertram  is  pres- 
ent, and  makes  a  compact  with  them  to  loose  Rob- 
ert from  his  influence  if  he  does  not  yield  to  his 
desires  at  once.  Alice,  who  has  an  appointment 
with  the  minstrel  in  the  cavern,  overhears  the  com- 
pact, and  determines  to  save  him.  Robert  soon 
appears,  mourning  over  his  losses  and  dishonor ;  but 
Bertram  promises  to  restore  everything  if  he  will 
visit  the  ruined  Abbey  of  St.  Rosalie,  and  carry 
away  a  mystic  branch  which  has  the  power  of 
conferring  wealth,  happiness,  and  immortality.  He 
consents  ;  and  in  the  next  scene  Bertram  pro- 
nounces the  incantation  which  calls  up  the  buried 
nuns.  Dazed  with  their  ghostly  fascinations,  Robert 


174  THE  STANDARD   OPERAS. 

seizes  the  branch  and  flies.  His  first  use  of  it  is 
to  enter  the  apartments  of  Isabella,  unseen  by  her 
or  her  attendants,  all  of  whom  become  immov- 
able in  the  presence  of  the  mystic  talisman.  He 
declares  his  intention  of  carrying  her  away;  but 
moved  by  her  entreaties  he  breaks  the  branch, 
which  destroys  the  charm.  In  the  last  act  Bertram 
is  at  his  side  again,  trying  to  induce  him  to  sign  the 
fatal  compact.  The  strains  of  sacred  music  which 
he  hears,  and  the  recollections  of  his  mother,  re- 
strain him.  In  desperation  Bertram  announces 
himself  as  his  fiend-father.  He  is  about  to  yield, 
when  Alice  appears  and  reads  to  him  his  mother's 
warning  against  the  fiend's  temptation.  As  he  still 
hesitates,  the  clock  strikes,  and  the  spell  is  over. 
Bertram  disappears,  and  the  scene  changes  to  the 
cathedral,  where  Isabella  in  her  wedding  robes 
awaits  the  saved  Robert. 

From  the  musical  point  of  view  "Robert  le 
Diable  "  is  interesting,  as  it  marks  the  beginning  of 
a  new  school  of  grand  opera.  With  this  work, 
Meyerbeer  abandoned  the  school  of  Rossini  and 
took  an  independent  course.  He  cut  loose  from 
the  conventional  classic  forms  and  gave  the  world 
dramatic  music,  melodies  of  extraordinary  dramatic 
force,  brilliant  orchestration,  stately  pageants,  and 
theatrical  effects.  "  Robert  le  Diable "  was  the 
first  of  the  subsequent  great  works  from  his  pen 
which  still  further  emphasized  his  new  and  inde- 
pendent departure.  It  is  only  necessary  to  call 
attention  to  a  few  prominent  numbers,  for  this  opera 


ROBERT  THE  DEVIL.  !75 

has  not  as  many  instances  of  these  characteristics 
as  those  which  followed  and  which  are  elsewhere 
described.  The  first  act  contains  the  opening  bac- 
chanalian chorus  ("  Versiamo  a  tazza  plena  "),  which 
is  very  brilliant  in  character ;  the  minstrel's  song  in 
the  same  scene  ("  Regnava  un  tempo  in  Norman- 
dia "),  with  choral  accompaniment ;  and  a  very 
tender  aria  for  Alice  ("  Vanne,  disse,  al  figlio  mio  "), 
in  which  she  delivers  his  mother's  message  to 
Robert.  The  second  act  opens  with  a  spirited 
duet  between  Bertram  and  Raimbaut,  leading  up 
to  a  powerful  and  characteristic  chorus  of  the  evil 
spirits  ("  Demoni  fatali  ").  An  aria  for  Alice  ("  Nel 
lasciar  in  Normandia  "),  a  duet  between  Bertram 
and  Alice  ("  Trionfo  bramato  "),  and  an  intensely 
dramatic  trio  between  Bertram,  Alice,  and  Robert 
("  Lo  sguardo  immobile  "),  prepare  the  way  for  the 
great  scena  of  the  nuns,  known  as  "  La  Tempta- 
tion," in  which  Meyerbeer  illustrates  the  fantastic 
and  oftentimes  ludicrous  scene  with  music  which 
is  the  very  essence  of  diabolism,  and  in  its  way  as 
unique  as  the  incantation  music  in  "  Der  Frei- 
schutz."  The  third  act  contains  two  great  arias. 
The  first  ("  Invano  il  fato  "),  sung  at  the  opening 
of  the  act  by  Isabella,  and  the  second  the  world- 
famous  aria  "Roberto,  o  tu  che  adoro,"  better 
known  by  the  French  words  ("  Robert !  toi  que 
j'aime  ").  The  closing  act  is  specially  remarkable 
for  the  great  terzetto  in  its  finale,  which  is  one  of 
the  most  effective  numbers  Meyerbeer  has  written. 
The  judgment  of  Hanslick,  the  great  Viennese 


1  76  THE  STANDARD   OPERAS. 

critic,  upon  this  work  is  interesting  in  this  connec- 
tion. He  compares  it  with  "William  Tell"  and 
"  Masaniello,"  and  finds  that  in  musical  richness 
and  blended  effects  it  is  superior  to  either,  but  that 
a  single  act  of  either  of  the  works  mentioned  con- 
tains more  artistic  truth  and  ideal  form  than  "  Rob- 
ert le  Diable,"  —  a  judgment  which  is  largely  based 
upon  the  libretto  itself,  which  he  condemns  without 
stint. 


"  Dinorah,"  an  opera  in  three  acts,  founded  upon 
a  Breton  idyl,  words  by  Barbiere  and  Carre,  was 
first  produced  at  the  Opera  Comique,  Paris,  April  4, 
1859,  under  the  title  of  "  Le  Pardon  de  Ploermel." 
It  contains  but  three  principal  characters,  and  these 
were  cast  as  follows  :  Dinorah,  Mme.  Cabel  ;  Coren- 
tin,  M.  Sainte-Foy  ;  and  Hoel,  M.  Faure.  On  the 
26th  of  July,  1859,  Meyerbeer  conducted  the  work 
himself  at  Covent  Garden,  London,  with  Mme. 
Miolan-Carvalho  as  Dinorah,  and  it  was  also  pro- 
duced in  the  same  year  in  English  by  the  Pyne- 
Harrison  troupe.  The  first  representative  of  Dinorah 
in  this  country  was  Mile.  Cordier. 

The  scene  of  the  opera  is  laid  in  Brittany,  and 
when  the  first  act  opens,  the  following  events  are 
supposed  to  have  transpired.  On  one  of  the  days 
set  apart  by  the  villagers  of  Ploermel  for  a  pilgrim- 
age to  the  shrine  of  the  Virgin,  Hoel,  the  goatherd, 
and  Dinorah,  his  affianced,  set  out  to  receive  a 


DINORAH.  1 77 

nuptial  benediction.  The  festivity  is  interrupted  by 
a  thunder-storm,  during  which  Les  Herbiers,  the 
dwelling-place  of  Dinorah,  is  destroyed  by  light- 
ning. Dinorah  is  in  despair.  Hoel  determines  to 
make  good  the  loss,  and  upon  the  advice  of  Tonick, 
an  old  wizard,  resolves  to  go  in  quest  of  a  treasure 
which  is  under  the  care  of  the  Korigans,  a  super- 
natural folk  belonging  to  Brittany.  In  order  to 
wrest  it  from  them,  however,  it  is  necessary  for 
Hoel  to  quit  the  country  and  spend  a  year  in  soli- 
tude in  a  desolate  region.  He  bravely  starts  off, 
and  Dinorah,  thinking  he  has  abandoned  her,  loses 
her  wits,  and  constantly  wanders  about  the  woods 
with  her  goat,  seeking  him.  Meanwhile  the  year 
expires  and  Hoel  returns,  convinced  that  he  has 
the  secret  for  securing  the  treasure. 

The  overture  to  the  work  is  unique  among  oper- 
atic overtures,  as  it  has  a  chorus  behind  the  curtain 
interwoven  with  it.  It  is  a  picture  of  the  opera 
itself,  and  contains  a  will-o'-the-wisp  passage,  a 
rustic  song  with  accompaniment  of  goat-bells,  a 
storm,  and  in  the  midst  of  the  storm  a  chant  to  the 
Virgin,  sung  by  the  unseen  chorus,  and  then  a  Pil- 
grimage march,  the  whole  being  in  the  nature  of 
a  retrospect.  The  curtain  rises  upon  a  rustic 
chorus,  after  which  Dinorah  appears,  seeking  her 
goat,  and  sings  a  slumber-song  ("  Si,  carina,  capret- 
tina  ")  which  is  very  graceful,  and  concludes  with 
phrases  in  imitation  of  birds.  In  the  next  scene, 
Corentin,  the  bagpiper,  who  has  been  away  three 
months,  and  is  nearly  dead  with  terror  of  goblins 


I73  THE  STANDARD   OPERAS. 

and  fairies,  returns  to  his  cottage,  and  to  reassure 
himself  sings  a  very  quaint  and  original  song  ("  Sto 
in  casa  alfine "),  to  the  accompaniment  of  his 
pipe.  Dinorah  suddenly  appears  and  enters  the 
cottage,  and  much  to  his  alarm  keeps  him  playing 
and  singing,  which  leads  to  a  very  animated  vocal 
contest  between  her  and  the  bagpiper.  It  is  ab- 
ruptly terminated,  however,  by  the  arrival  of  Hoel. 
Dinorah  makes  her  escape  by  a  window,  and  Hoel 
relates  to  Corentin  the  story  of  the  Korigans'  treas- 
ure. As  the  first  person  who  touches  it  will  die, 
he  determines  that  Corentin  shall  be  his  messenger, 
and  to  rouse  his  courage  sends  for  wine.  While 
Corentin  is  absent,  Hoel  sings  an  aria  ("  Se  per 
prender")  which  has  always  been  a  favorite  with 
barytones.  After  Corentin  returns,  the  tinkling  of 
the  goat's  bell  is  heard.  Dinorah  appears  in  the 
distance,  and  a  charming  trio  closes  the  act,  to  the 
accompaniment  of  the  whistling  wind  and  booming 
thunder  on  the  contra  basses  and  drums  of  the 
orchestra. 

The  second  act  opens  with  a  drinking-song  by 
wood-cutters,  and  as  they  withdraw,  Dinorah  en- 
ters, seeking  Hoel.  She  sings  a  tender  lament, 
which,  as  the  moonlight  falls  about  her,  develops 
into  the  famous  "  Shadow  Song,"  a  polka  mazurka, 
which  she  sings  and  dances  to  her  shadow.  The 
aria,  "Ombra  leggiere,"  is  fairly  lavish  in  its  tex- 
ture of  vocal  embroidery,  and  has  always  been  a 
favorite  number  on  the  concert  stage.  The  next 
scene  changes  to  the  Val  Maudit  (the  Cursed  Vale), 


DINORAH. 


179 


a  rocky,  cavernous  spot,  through  which  rushes  a 
raging  torrent  bridged  by  a  fallen  tree.  Hoel  and 
Corentin  appear  in  quest  of  the  treasure,  and  the 
latter  gives  expression  to  his  terror  in  a  very  charac- 
teristic manner,  with  the  assistance  of  the  orchestra. 
Dinorah  is  heard  singing  the  legend  of  the  treasure 
("Chi  primo  al  tesor"),  from  which  Corentin 
learns  that  whoever  touches  it  first  will  die.  He 
refuses  to  go  on,  and  a  spirited  duet  ensues  between 
them,  which  is  interrupted  by  the  entrance  of 
Dinorah  and  her  goat.  Hoel,  fancying  it  is  a  spirit 
sent  to  keep  him  back,  sings  a  very  beautiful  aria 
("Le  crede  il  padre").  The  act  closes  with  the 
fall  of  Dinorah,  who  attempts  to  cross  the  bridge, 
into  the  torrent,  and  her  rescue  by  Hoel,  to  the 
accompaniment  of  a  storm  set  to  music.  The 
scene,  though  melodramatic,  is  very  strong  in  its 
musical  effects. 

The  last  act  opens  with  a  scene  in'  striking  con- 
trast, introduced  with  a  quintet  of  horns,  followed 
by  a  hunter's  solo,  a  reaper's  solo,  a  duet  for  shep- 
herdsj  and  a  quartet  in  the  finale.  Hoel  arrives, 
bearing  the  rescued  Dinorah,  and  sings  to  her  an 
exquisite  romance  ("Sei  vendicata  assai").  The 
magic  of  his  singing  and  her  bath  in  the  torrent 
restore  her  wandering  senses.  Hoel  persuades  her 
that  all  which  has  transpired  has  been  a  dream. 
The  old  song  of  the  Pardon  of  Ploermel  comes  to 
her,  and  as  she  tries  to  recall  it  the  chorus  takes  it 
up  ("Santa  Maria  !  nostra donna ")  as  it  was  heard 
in  the  overture.  A  procession  is  seen  in  the  dis- 


i8o  THE  STANDARD    OPERAS. 

tance,  and  amid  some  exquisite  pageant  music 
Hoel  and  Dinorah  wend  their  way  to  the  chapel, 
where  the  nuptial  rites  are  supposed  to  be  per- 
formed. 


"Le  Prophete,"  an  opera  in  five  acts,  words  by 
Scribe,  was  first  produced  in  Paris,  April  16,  1849, 
with  Mme.  Viardot-Garcia  as  Fides,  and  M.  Roger 
as  John  of  Leyden.  "  The  Prophet  "  was  long  and 
carefully  elaborated  by  its  composer.  Thirteen 
years  intervened  between  it  and  its  predecessor, 
"  The  Huguenots  ;  "  but  in  spite  of  its  elaboration  it 
can  only  be  said  to  excel  the  latter  in  pageantry  and 
spectacular  effect,  while  its  musical  text  is  more 
declamatory  than  melodious,  as  compared  with  "  The 
Huguenots."  In  this  sense  it  was  disappointing 
when  first  produced. 

The  period  of  the  opera  is  1534.  The  first  act 
transpires  in  Dordrecht  and  Leyden,  in  Holland,  and 
the  other  three  in  Munster,  Germany.  The  text 
closely  follows  the  historical  narrative  of  the  period 
when  Munster  was  occupied  by  John  of  Leyden  and 
his  fanatics,  who,  after  he  had  been  crowned  by 
them  as  Emperor  of  Germany,  was  driven  out  by  the 
bishop  of  the  diocese.  The  first  act  opens  in 
the  suburbs  of  Dordrecht,  near  the  Meuse,  with 
the  chateau  of  Count  Oberthal,  lord  of  the  domain, 
in  the  distance.  After  a  very  fresh  and  vigorous 
chorus  of  peasants,  Bertha,  a  vassal  of  the  Count, 


THE  PROPHET.  181 

betrothed  to  John  of  Leyden,  enters  and  sings 
a  cavatina  ("II  cor  nel  sento "),  in  which  she 
gives  expression  to  emotions  of  delight  at  her  ap- 
proaching union.  As  she  cannot  go  to  Leyden, 
where  the  marriage  is  to  take  place,  without  the 
Count's  consent,  Fides,  the  mother  of  John,  joins 
her  to  make  the  request.  In  the  mean  time  the 
three  Anabaptists,  Zacarie,  Gione,  and  Mathisen, 
leaders  of  the  revolt  in  Westphalia,  arrive  on  their 
mission  of  raising  an  insurrection  in  Holland,  and 
in  a  sombre  trio  of  a  religious  but  stirring  character 
("  O  libertade  ")  incite  the  peasants  to  rise  against 
their  rulers.  They  make  an  assault  upon  the  castle 
of  Count  Oberthal,  who  speedily  repels  them,  and 
turns  the  tide  of  popular  feeling  against  the  Ana- 
baptists, by  recognising  Gione  as  a  former  servant 
who  had  been  discharged  from  his  service  for  dis- 
honesty. Fides  and  Bertha  then  join  in  a  romanza 
("  Delia  moraun  giorno  "),  imploring  his  permission 
for  the  marriage  of  Bertha  and  John.  The  Count, 
however,  struck  with  her  beauty,  not  only  refuses, 
but  claims  her  for  himself,  and  seizes  both  her  and 
Fides,  and  the  act  closes  with  a  repetition  of  the 
warning  chant  of  the  Anabaptists. 

The  second  act  opens  in  the  hostelry  of  John  of 
Leyden,  and  is  introduced  with  a  waltz  and  drink- 
ing-chorus,  in  the  midst  of  which  the  Anabaptists 
arrive  and  are  struck  with  his  resemblance  to  a  por- 
trait of  David  in  the  Munster  Cathedral.  From  a 
very  descriptive  and  highly  wrought  scena  ("  Sotto 
le  vasti  arcati ")  sung  by  him  they  also  learn  that 


!82  THE  STANDARD  OPERAS. 

he  is  given  to  visions  and  religious  meditations. 
They  assure  him  that  he  shall  be  a  ruler ;  but  in  a 
beautiful  romanza  ("  Un  impero  piu  soave  ")  he  re- 
plies that  his  love  for  Bertha  is  his  only  sovereignty. 
Just  as  they  depart,  Bertha,  who  has  escaped, 
rushes  in  and  claims  his  protection.  He  conceals 
her ;  but  has  hardly  done  so  when  the  Count  enters 
with  his  soldiers,  bringing  Fides  as  a  prisoner,  and 
threatens  to  kill  her  unless  Bertha  is  given  up.  He 
hesitates ;  but  at  last,  to  save  his  mother's  life,  de- 
livers Bertha  to  her  pursuers.  Mother  and  son 
are  left  alone,  and  she  seeks  to  console  him.  In 
this  scene  occurs  one  of  the  most  dramatic  and 
intense  of  Meyerbeer's  arias  ("  O  figlio  mio,  che 
diro  "),  known  more  popularly  by  its  French  words, 
beginning,  "  Ah !  mon  fils."  It  has  enjoyed  a 
world-wide  popularity,  and  still  holds  its  place  in 
all  its  original  freshness  and  vigor.  Fides  hardly 
disappears  before  the  ominous  chant  of  the  Ana- 
baptists is  heard  again.  He  does  not  need  much 
persuasion  now.  They  make  their  compact  in  a 
quartet  of  magnificent  power,  which  closes  the  act ; 
and  some  of  John's  garments  are  left  behind  stained 
with  blood,  that  his  mother  may  believe  he  has 
been  killed. 

The  third  act  opens  in  the  Anabaptists'  camp  in 
a  Westphalian  forest,  a  frozen  lake  near  them,  and 
Munster,  which  they  are  besieging,  in  the  distance. 
In  the  second  scene  Zacarie  sings  a  stirring  pa;an 
of  victory  ("  In  coppia  son "),  followed  by  the 
beautiful  ballet  music  of  the  skaters  as  they  come 


THE  PROPHET.  183 

bringing  provisions  to  the  troops.  Count  Oberthal 
meanwhile  has  been  taken  prisoner  and  brought 
into  camp.  A  buffo  trio  between  himself  and  his 
captors  follows,  in  which  Gione  penetrates  his  dis- 
guise and  recognizes  him.  They  are  about  to  fall 
upon  him ;  but  John,  learning  from  him  that  Ber- 
tha is  still  alive  and  in  Munster,  saves  his  life.  He 
immediately  resolves  to  take  the  place  by  assault, 
rouses  his  followers  with  religious  chants  of  a  mar- 
tial character,  and  the  act  concludes  with  the  march 
on  the  city. 

The  fourth  act  opens  in  the  city  itself  after  its 
capture.  A  mendicant  appears  in  the  public  square 
begging  for  bread.  It  is  Fides ;  and  in  a  plain- 
tively declamatory  aria  of  striking  power  ("  Pieta  ! 
pieta  !  ")  she  implores  alms.  She  meets  with  Ber- 
tha disguised  as  a  pilgrim,  and  bent  upon  the 
destruction  of  the  Prophet,  who,  she  believes,  has 
been  the  cause  of  John's  death.  The  next  scene 
opens  in  the  cathedral,  where  the  coronation  of  the 
Prophet  is  to  take  place ;  and  among  all  Meyer- 
beer's pageants  none  are  more  imposing  than  this, 
with  its  accompaniment  of  pealing  bells,  religious 
chants,  the  strains  of  the  organ,  and  the  stately 
rhythms  of  the  great  Coronation  March.  It  is 
a  splendid  prelude  to  the  dramatic  scene  which 
follows.  In  the  midst  of  the  gorgeous  spectacle, 
the  voice  of  Fides  is  heard  claiming  the  .Prophet 
as  her  son.  John  boldly  disavows  her,  and  tells  his 
followers  to  kill  him  if  she  does  not  confirm  the  dis- 
avowal. The  feelings  of  the  mother  predominate, 


184  THE  STANDARD   OPERAS. 

and  she  declares  that  she  is  mistaken.  The  multi- 
tude proclaim  it  a  miracle,  and  Fides  is  removed 
as  a  prisoner.  The  dramatic  situation  in  this  finale 
is  one  of  great  strength,  and  its  musical  treatment 
has  hardly  been  excelled. 

The  last  act  opens  with  a  trio  by  the  Anabaptist 
leaders,  who,  learning  that  the  enemy  is  approach- 
ing in  force,  determine  to  save  themselves  by  be- 
traying John.  In  the  third  scene  Fides  in  prison, 
learning  that  John  is  coming  to  see  her,  invokes  the 
punishment  of  Heaven  upon  him  hi  the  passionate 
aria,  "  Spirto  superno."  A  duet  ("  Tu  che  del 
cielo  ")  of  great  power  follows,  in  which  Fides  con- 
vinces him  of  the  errors  of  his  course.  As  they  are 
about  to  leave,  Bertha  enters,  bent  upon  the  de- 
struction of  the  palace,  and  in 'the  trio  which  ensues 
learns  that  John  and  the  Prophet  are  one.  She  stabs 
herself,  and  dying  in  the  arms  of  Fides  curses  him. 
The  last  scene  opens  in  a  banqueting- hall  of  the 
palace,  where  John  is  revelling,  with  the  Anabaptists 
around  him.  He  sings  a  bacchanalian  song  of  a 
wild  description  ("  Beviam  e  intorno  "),  and,  as  it 
closes,  the  Bishop  of  Munster,  the  Elector,  Count 
Oberthal,  and  the  three  Anabaptists  who  have  be- 
trayed him,  enter  the  apartment.  The  revenge 
which  John  has  planned  is  now  consummated. 
An  explosion  is  heard.  Flames  break  out  on  all 
sides.  Fides  rushes  in  and  forgives  her  son,  and 
the  Prophet,  his  mother,  and  his  enemies  perish 
together. 

Although  "  The  Prophet  "  did  not  meet  with  the 


THE  AFRICAN.  185 

popularity  of  some  of  his  other  operas,  it  contains 
some  of  the  most  vigorous  and  dramatic  music 
Meyerbeer  has  written,  —  notably  the  arias  of  Za- 
carie  and  Fides,  the  skating-ballet,  the  Coronation 
March,  and  the  drinking-song.  As  a  pageant,  "  The 
Prophet  "  has  never  been  surpassed. 


5The  African. 

"  L'Africaine,"  a  grand  opera  in  five  acts,  words 
by  Scribe,  was  first  produced  at  the  Academic, 
Paris,  April  28,  1865,  with  the  following  cast :  — 

SELIKA Mme.  MARIE  SAXE. 

INEZ       Mile.  MARIE  BATTED. 

VASCO  DI  GAMA M.  NAUDIN. 

NELUSKO M.  FAURE. 

DON  PEDRO M.  BELVAL. 

HIGH  PRIEST       M.  OBIN. 

The  libretto  of  the  opera  was  first  given  to  Mey- 
erbeer by  Scribe  in  1838 ;  but  such  were  the  altera- 
tions demanded  by  the  composer,  that  at  last  Scribe 
withdrew  it  altogether,  although  the  music  was  al- 
ready set.  In  1852  he  furnished  a  revised  libretto, 
and  the  music  was  revised  to  suit  it.  The  work 
was  not  finished  until  1860,  and  owing  to  the  diffi- 
culty of  filling  the  cast  satisfactorily,  was  not  brought 
to  rehearsal  until  the  fall  of  1863.  While  still  cor- 
recting and  improving  it,  Meyerbeer  died,  and  it 
was  not  produced  until  two  years  later.  Shortly 
after  the  Paris  performance  it  was  brought  out  in 


j86  THE  STANDARD   OPERAS. 

London,  with  Mile.  Lucca  in  the  part  of  Selika. 
Mme.  Zucchi  was  one  of  the  earliest  representatives 
of  the  slave  in  this  country. 

The  scene  of  the  opera  is  laid  in  Portugal  and 
Africa,  and  the  first  act  opens  in  the  council  cham- 
ber of  the  king  of  the  former  country.  Inez,  his 
daughter,  is  mourning  the  long  absence  of  her  be- 
trothed, Vasco  di  Gama  the  explorer.  Her  father, 
wishing  to  marry  her  to  Don  Pedro,  the  President 
of  the  Council,  tries  to  persuade  her  that  Vasco  has 
perished  by  shipwreck ;  but  the  refutation  of  the 
story  comes  in  the  sudden  appearance  of  Vasco 
himself,  who  is  summoned  before  the  Council  and 
narrates  to  them  his  discovery  of  a  strange  land, 
producing  two  of  the  natives,  Selika  and  Nelusko, 
as  confirmations  of  his  announcement.  Don  Pedro 
incites  the  inquisitors  to  deny  the  truth  of  the 
story,  at  which  Vasco  breaks  out  in  such  a  furious 
rage  against  them  that  he  is  arrested  and  thrown 
into  a  dungeon.  The  second  act  opens  in  the 
prison,  where  Selika  is  watching  the  slumbering 
Vasco.  As  he  wakens  she  declares  her  love  for 
him,  and  at  the  same  time  saves  him  from  the  dag- 
ger of  the  jealous  Nelusko.  She  also  indicates  to 
him  the  course  he  should  have  taken  to  discover  the 
island  of  which  he  is  in  quest.  To  save  her  lover, 
Inez  consents  to  wed  Don  Pedro ;  and  the  latter, 
to  cheat  Vasco  of  his  fame,  takes  command  of  the 
expedition  under  the  pilotage  of  Nelusko,  and  sets 
sail  for  the  new  land.  The  Indian,  thirsting  for 
vengeance,  directs  the  vessel  out  of  her  course 


THE  AFRICAN.  187 

towards  a  reef;  but  Vasco,  who  has  followed  in 
another  vessel,  arrives  in  time  to  warn  Don  Pedro 
of  his  danger.  He  disregards  the  warning,  distrusts 
his  motives,  and  orders  him  to  be  shot ;  but  before 
the  sentence  can  be  carried  out,  the  vessel  strikes 
and  is  boarded  by  the  savages,  who  slaughter  the 
commander  and  most  of  his  men.  The  fourth  act 
opens  on  the  island  which  Selika  pointed  out  on 
the  map,  and  of  which  she  is  queen.  To  save  him 
from  her  subjects,  she  declares  herself  his  spouse  ; 
but  as  the  marriage  rite  is  about  to  be  celebrated, 
Vasco  hears  the  voice  of  Inez  in  the  distance, 
deserts  Selika,  and  flies  to  her.  In  the  last  act,  as 
the  vessel  sails  away  bearing  Vasco  and  Inez  back 
to  Portugal,  Selika  throws  herself  down  under  the 
poisonous  manchineel-tree  and  kills  herself  with  its 
fatal  flowers  ;  expiring  in  the  arms  of  Nelusko,  who 
shares  the  same  fate. 

The  first  act  opens  with  a  very  sweet  but  sombre 
ballad  sung  by  Inez  ("  Del  Tago  sponde  addio"), 
which  recalls  the  English  song,  "  Isle  of  Beauty, 
fare  thee  well,"  and  is  followed  by  a  bold  and  flow- 
ing terzetto.  The  third  scene  opens  with  a  noble 
and  stately  chorus  ("  Tu  che  la  terra  adora  ")  sung 
by  the  basses  in  unison,  opening  the  Council  before 
which  Vasco  appears ;  and  the  act  closes  with  an 
anathema  hurled  at  him  ("  Ribelle,  insolente  "),  — 
a  splendid  ensemble,  pronounced  in  its  rhythm  and 
majestic  in  the  sweep  of  its  passionate  music. 

The  second  act  opens  with  the  quaint  slumber- 
song  ("In  grembo  a  me  ")  which  Selika  sings  to 


1 88  THE  STANDARD   OPERAS. 

Vasco  in  prison.  It  is  oriental  in  color,  and  is 
broken  here  and  there  by  a  barcarole  which  Vascp 
murmurs  in  his  sleep.  In  striking  contrast  with  its 
dreamy,  quiet  flow,  it  leads  up  to  a  passionate  aria 
("  Tranquillo  e  gia ")  based  upon  a  strong  and 
fiery  motive.  In  the  next  scene  follows  an  aria  of 
equal  vigor  sung  by  Nelusko  ("Figlia  dei  Re"), 
in  which  his  devotion  to  Seiika  changing  to  his 
hatred  of  Vasco  is  characterized  by  a  grand  cres- 
cendo. The  act  closes  with  a  vigorous  sextet,  the 
motive  of  which  is  strangely  similar  to  the  old  song, 
"  The  Minstrel  Boy." 

The  third  act  contains  a  very  impressive  number, 
Nelusko's  invocation  of  Adamastor  ("  Adamastor, 
re  dell'  onde  profondo  "),  but  is  mainly  devoted  to 
the  ship  scene,  which,  though  grotesque  from  the 
dramatic  point  of  view,  is  accompanied  by  music 
of  a  powerful  and  realistic  description,  written 
with  all  the  vividness  and  force  Meyerbeer  always 
displays  in  his  melodramatic  ensembles.  The 
fourth  act  contains  the  most  beautiful  music  of  the 
opera, — Vasco's  opening  aria,  "  O  Paradiso,"  an 
exquisite  melody  set  to  an  equally  exquisite  accom- 
paniment; the  ensemble  in  the  fourth  scene,  in 
which  Seiika  protects  Vasco  and  Nelusko  swears 
vengeance  ("  Al  mio  penar  de  fine  ")  ;  the  grand 
duet  between  Vasco  and  Seiika  ("  Dove  son  "), 
which  has  often  been  compared  to  the  duet  in  the 
fourth  act  of  "The  Huguenots,"  though  it  has  not 
the  passionate  intensity  of  the  scene  between  Raoul 
and  Valentin;  and  the  graceful  choruses  of  the 


THE  AFRICAN.  189 

Indian  maidens  and  Inez's  attendants  which  close 
the  act. 

The  last  act  contains  two  scenes,  —  the  first  in 
Selika's  gardens,  where  there  is  a  long  and  spirited 
duet  between  Inez  and  Selika.  The  second,  known 
as  "  La  Scene  du  Mancenillier,"  has  a  symphonic 
prelude  in  the  form  of  a  funeral  march,  based  upon 
a  fascinating  melody,  which  is  beyond  question  the 
finest  of  Meyerbeer's  orchestral  numbers  in  any  of 
his  works.  From  this  point  the  story  hastens  to 
its  tragic  denouement ;  and  nearly  the  entire  scene 
is  occupied  with  Selika's  dying  song,  which  opens 
with  a  majestic  apostrophe  to  the  sea  ("  Da  qui  io 
vedo  il  mar "),  then  turns  to  sadness  as  she  sings 
to  the  fatal  tree  ("  O  tempio  sontuoso"),  and  at 
the  close  develops  into  a  passionate  outcry  of  joy 
("  O  douce  extase  ").  Though  the  plot  of  "  L'Afri- 
caine  "  is  often  absurd,  many  of  its  incidents  pre- 
posterous, and  some  of  its  characters  unattractive, 
the  opera  is  full  of  effective  situations,  and  repeat- 
edly illustrates  Meyerbeer's  powers  of  realization 
and  his  knowledge  of  effects. 


MOZART. 

1OHANN  CHRYSOSTOMUS  WOLF- 
GANG AMADEUS  MOZART  was 
born  at  Salzburg,  Jan.  27,  1756.  With 
this  wonderful  child  music  was  a  divine 
gift,  for  his  first  work,  a  minuet  and  trio  for  piano, 
was  written  in  his  fifth  year.  He  began  to  study 
with  his  father  when  but  three  years  of  age,  and 
at  once  gave  signs  of  extraordinary  promise.  His 
sister  was  also  very  talented  ;  and  in  1762  the  father 
determined  to  travel  with  his  prodigies.  They  were 
absent  a  year,  the  most  of  that  time  being  spent 
at  Munich,  Vienna,  and  Presburg,  where  they  cre- 
ated a  furor  by  their  performances.  A  longer  jour- 
ney was  then  resolved  upon.  The  principal  German 
cities,  Brussels,  Paris,  London,  the  Hague,  Amster- 
dam, and  the  larger  towns  of  Switzerland  were  vis- 
ited in  succession,  and  everywhere  the  children 
were  greeted  with  enthusiasm,  particularly  when 
they  played  before  the  French  and  English  courts. 
They  returned  to  Salzburg  in  1766,  already  famous 
•all  over  Europe ;  and  during  the  next  two  years 


MOZART. 


191 


Mozart  composed  many  minor  works.  In  1 768  he 
was  again  in  Vienna,  where  he  produced  his  little 
operetta,  "  Bastien  und  Bastienne,"  and  in  the 
same  year  the  Archbishop  of  Salzburg  made  him 
his  concertmeister.  The  next  year  he  went  to 
Italy,  where  he  both  studied  and  composed,  and 
was  received  with  extraordinary  honors.  In  1771 
he  brought  out  his  opera,  "  Mitridate,  Re  di  Ponto," 
at  Milan,  with  great  success.  The  next  year  he 
produced  "  Lucio  Silla,"  also  in  Milan,  and  during 
the  next  four  years  composed  a  great  number  of 
symphonies  and  other  instrumental  works.  The 
mass  of  music  which  he  composed  up  to  his 
twenty-first  year  is  simply  bewildering.  In  1781 
he  brought  out  "  Idomeneo  '"at  Munich,  which 
left  no  dcubt  as  to  his  position  as  a  dramatic  com- 
poser. In  1782  his  "Entfuhrung  aus  dem  Serail  " 
was  produced  at  Vienna  by  the  Emperor's  com- 
mand. His  next  great  opera  was  "  Le  Nozze  di 
Figaro,"  which  was  performed  in  1 786,  and  made 
all  Vienna  go  wild.  "  Don  Giovanni  "  followed  it 
the  next  year,  and  was  received  with  equal  enthu- 
siasm. In  1789  he  composed  the  famous  "Re- 
quiem ;  "  and  the  same  year  the  "  Zauberflote,"  his 
last  great  opera,  appeared,  and  made  a  success 
even  greater  than  its  two  great  predecessors.  Two 
years  later,  Dec.  5,  1791,  Mozart  died  in  poverty, 
and  amid  the  saddest  of  surroundings.  One  of 
the  world's  greatest  geniuses  was  carried  to  his 
last  resting-place  unaccompanied  by  friends,  and 
was  buried  in  the  common  pauper's  grave.  God 


192  THE  STANDARD   OPERAS. 

endowed  him  with  a  wonderful  genius,  which  the 
world  of  his  time  could  not  recognize. 


ot 

"  Le  Nozze  di  Figaro,"  in  the  German  version, 
"  Die  Hochzeit  des  Figaro,"  an  opera  buffa  in  four 
acts,  the  words  by  Lorenzo  da  Ponte,  after  Beau- 
marchais's  comedy,  "  Le  Mariage  de  Figaro,"  was 
first  produced  at  the  National  Theatre,  Vienna, 
May  i,  1786,  with  the  following  cast:  — 

COUNTESS  ALMAVIVA Signora  STORAGE. 

SUSANNA Signora  LASCHI. 

CHERUBINO       Signora  MANDINI. 

MARCELLINA Signora  BUSSANI. 

BARBARINA Signora  GOTTLIEP. 

COUNT  ALMAVIVA Signor  MANDINI. 

FIGARO Signor  BENUCCI. 

BARTOLO Signor  OCCHELEY. 

BASILIO Signor  BUSSANI. 

It  was  first  brought  out  in  Paris  in  1 793,  with 
Beaumarchais's  spoken  dialogue,  in  five  acts,  as  "  Le 
Mariage  de  Figaro,"  and  in  1858  at  the  Theatre 
Lyrique  in  the  same  city,  in  four  acts,  as  "  Les 
Noces  de  Figaro,"  with  text  by  Barbiere  and  Carr£. 
The  late  Mme.  Parepa-Rosa  introduced  it  in  this 
country  in  its  English  form  with  great  success. 

At  the  time  the  libretto  was  written,  Beaumar- 
chais's satirical  comedy,  "  Le  Mariage  de  Figaro," 
had  been  performed  all  over  Europe,  and  had  at- 
tracted great  attention.  It  had  been  prohibited  in 


THE  MARRIAGE   OF  FIGARO.  ^3 

Paris,  and  had  caused  great  commotion  in  Vienna. 
Mozart's  notice  was  thus  drawn  to  it,  and  he  sug- 
gested it  to  Da  Ponte  for  a  libretto,  and  the 
Emperor  Joseph  subsequently  commissioned  the 
composer  to  set  it  to  music,  though  he  had  al- 
ready composed  a  portion  of  it.  The  entire  opera 
was  written  during  the  month  of  April,  and  the 
wonderful  finale  to  the  second  act  occupied  him 
for  two  nights  and  a  day.  When  it  came  to  a  per- 
formance, its  success  was  remarkable.  Kelly,  who 
was  present,  says,  in  his  Reminiscences  :  "  Never 
was  there  a  greater  triumph  than  Mozart  enjoyed 
with  his  '  Figaro.'  The  house  was  crowded  to 
overflowing,  and  almost  everything  encored,  so 
that  the  opera  lasted  nearly  double  the  usual  time ; 
and  yet  at  its  close  the  public  were  unwearied  in 
clapping  their  hands  and  shouting  for  Mozart." 
Popular  as  it  was,  it  was  soon  laid  aside  in  Vienna 
through  the  influence  of  the  Italian  faction  headed 
by  Salieri,  one  of  Mozart's  rivals. 

The  story  of  the  opera  is  laid  in  Spain.  Count 
Almaviva,  who  had  won  his  beautiful  Countess  with 
the  aid  of  Figaro,  the  barber  of  Seville,  becomes 
enamoured  of  her  maid  Susanna,  and  at  the  same 
time,  by  the  collusion  of  the  two,  in  order  to  pun- 
ish him,  is  made  jealous  by  the  attentions  paid  to 
the  Countess  by  Cherubino,  the  page.  Meanwhile 
Figaro,  to  whom  Susanna  is  betrothed,  becomes 
jealous  of  the  Count  for  his  gallantry  to  her.  Out 
of  these  cross-relations  arise  several  humorous  sur- 
prises. Besides  these  characters  there  are  two  oth- 


i94 


THE  STANDARD   OPERAS. 


ers  who  have  been  disappointed  in  love,  —  Bartolo, 
who  has  been  rejected  by  Susanna,  and  Marcellina, 
whose  affection  for  Figaro  has  not  been  requited. 
The  Count  seeks  to  get  rid  of  Cherubino  by  order- 
ing him  off  to  the  wars,  but  he  is  saved  by  Susanna, 
who  disguises  him  in  female  attire.  The  Countess, 
Susanna,  Figaro,  and  Cherubino  then  conspire  to 
punish  the  Count  for  his  infidelity.  The  latter 
suddenly  appears  at  his  wife's  door,  and  finding  it 
locked  demands  an  entrance.  Cherubino,  alarmed, 
hides  himself  in  a  closet  and  bars  the  door.  The 
Count  is  admitted,  and  finding  the  Countess  in 
confusion  insists  upon  searching  the  closet.  He 
goes  out  to  find  some  means  of  breaking  in  the 
door,  and  Cherubino  improves  the  opportunity  to 
jump  out  of  the  window,  while  Susanna  takes  his 
place  and  confronts  the  puzzled  Count  Antonio, 
the  gardener,  comes  in  and  complains  that  some 
one  has  jumped  from  the  window  and  broken  his 
flower-pots.  Figaro  at  once  asserts  that  he  did  it. 

A  ludicrous  side  plot  unfolds  at  this  point.  Mar- 
cellina appears  with  a  contract  of  marriage  signed 
by  Figaro,  bringing  Bartolo  as  a  witness.  The 
Count  decides  that  Figaro  must  fulfil  his  contract, 
but  the  latter  escapes  by  showing  that  he  is  the  son 
of  Marcellina,  and  that  Bartolo  is  his  father.  Mean- 
while the  main  plot  is  developed  in  another  con- 
spiracy to  punish  the  Count.  Susanna  contrives  a 
rendezvous  with  the  Count  at  night  in  the  garden, 
having  previously  arranged  with  the  Countess  that 
she  should  disguise  herself  as  the  maid,  the  latter 


THE  MARRIAGE   OF  FIGARO. 


'95 


also  assuming  the  part  of  the  Countess,  and  arrive 
in  time  to  surprise  the  two.  The  page  also  puts 
in  an  appearance,  and  gets  his  ears  boxed  for  his 
attentions  to  the  disguised  Countess.  Figaro,  who 
has  been  informed  that  Susanna  and  the  Count  are 
to  meet  in  the  garden,  comes  on  the  scene,  and  in 
revenge  makes  a  passionate  declaration  of  love  to 
the  supposed  Countess,  upon  which  the  Count,  who 
is  growing  more  and  more  bewildered,  orders  lights 
and  makes  his  supposed  wife  unveil.  The  real  wife 
does  the  same.  Covered  with  confusion,  he  im- 
plores pardon  of  the  Countess,  which  is  readily 
given.  The  two  are  reconciled,  and  Figaro  and 
Susanna  are  united. 

The  whole  opera  is  such  a  combination  of  playful- 
ness and  grace  that  it  is  a  somewhat  ungracious  task 
to  refer  to  particular  numbers.  In  these  regards  it  is 
the  most  Mozartean  of  all  the  composer's  operas. 
The  first  act  opens  with  a  sparkling  duet  between 
Figaro  and  Susanna,  in  which  she  informs  him  of 
the  Count's  gallantries.  As  she  leaves,  Figaro,  to  the 
accompaniment  of  his  guitar,  sings  a  rollicking  song 
("Se  vuol  ballare,  Signer  Contino"),  in.  which  he 
intimates  that  if  the  Count  wishes  to  dance  he  will 
play  for  him  in  a  style  he  little  expects.  In  the 
second  scene  Bartolo  enters,  full  of  his  plans  for 
vengeance,  which  he  narrates  in  a  grim  and  grotesque 
song  ("La  Vendetta").  The  fourth  scene  closes 
with  an  exquisite  aria  by  Cherubino  ("  Non  so 
piu  cosa  son ").  After  an  exceedingly  humorous 
trio  ("Cosa  sento?  tosto  andate")  for  the  Count, 


!96  THE  STANDARD   OPERAS. 

Basilic  and  Susanna,  and  a  bright,  gleeful  chorus 
("  Giovanni  lieti "),  Figaro  closes  the  act  with  the 
celebrated  aria,  "  Non  piu  andrai."  Of  the  singing 
of  this  great  song  at  the  first  rehearsal  of  the  opera 
Kelly  says  in  his  Reminiscences :  '•'  I  remember 
Mozart  well  at  the  first  general  rehearsal,  in  a  red 
furred  coat  and  a  gallooned  hat,  standing  on  the  stage 
and  giving  the  tempi.  Benucci  sang  Figaro's  aria, 
'  Non  piu  andrai,'  with  the  utmost  vivacity  and  the  full 
strength  of  his  voice.  I  stood  close  beside  Mozart, 
who  exclaimed,  sotto  voce,  '  Brava  !  brava  !  Benucci ! ' 
and  when  that  fine  passage  came,  '  Cherubino,  alia 
vittoria,  alia  gloria  militar,'  which  Benucci  gave  in 
a  stentorian  voice,  the  effect  was  quite  electrical, 
both  on  the  singers  on  the  stage  and  the  musicians 
in  the  orchestra.  Quite  transported  with  delight, 
they  all  called  out,  '  Brava  !  brava,  Maestro  !  viva  ! 
viva  !  viva  il  grande  Mozart ! '  In  the  orchestra  the 
applause  seemed  to  have  no  end,  while  the  violin- 
players  rapped  their  bows  on  their  desks.  The  little 
Maestro  expressed  his  gratitude  for  the  enthusi- 
asm, testified  in  so  unusual  a  manner,  by  repeatedly 
bowing." 

The  second  act  is  the  masterpiece  of  the  opera, 
and  contains  in  itself  music  enough  to  have  made 
any  composer  immortal.  It  opens  with  a  serious 
aria  by  the  Countess  ("  Porgi  amor  ")  followed  by 
Cherubino's  well-known  romanza  ("  Voi  che  sapete,") 
one  of  the  sweetest  and  most  effective  songs  ever 
written  for  contralto,  and  this  in  turn  by  Susanna's 
coquettish  song,  "  Venite,  inginocchiatevi,'1  as  she 


THE  MARRIAGE   OF  FIGARO.  197 

disguises  Cherubino.  A  spirited  trio  and  duet  lead 
up  to  the  great  finale,  begun  by  the  Count,  ("Esci 
omai,  garzon  mal  nato  ").  Upon  this  finale  Mozart 
seems  to  have  lavished  the  riches  of  his  musical 
genius  with  the  most  elaborate  detail  and  in  bewil- 
dering profusion.  It  begins  with  a  duet  between 
the  Count  and  Countess,  then  with  the  entrance  of 
Susanna  changes  to  a  trio,  and  as  Figaro  and  An- 
tonio enter,  develops  into  a  quintet  In  the  close, 
an  independent  figure  is  added  by  the  entrance  of 
Marcellina,  Barbarina,  and  Basilio,  and  as  Antonio 
exits,  this  trio  is  set  against  the  quartet  with  inde- 
pendent themes  and  tempi. 

The  third  act  opens  with  a.  duet  ("  Crudel,  perche 
finora  ")  for  the  Count  and  Countess,  followed  by  a 
very  dramatic  scena  for  the  Count,  beginning  with 
the  recitative,  "  Hai  gia  vinta  la  causa?"  which 
in  turn  leads  up  to  a  lively  and  spirited  sextet 
("  Riconosci  in  questo  amplesso  ").  The  two  num- 
bers which  follow  the  sextet  are  recognized  univer- 
sally as  two  of  the  sweetest  and  most  melodious  ever 
written,  —  the  exquisite  aria,  "  Dove  Sono,"  for  the 
Countess,  and  the  "  Zephyr  Duet,"  as  it  is  popu- 
larly known  ("  Canzonetta  su  1'  aria.  Che  soave  zeffi- 
retto "),  which  stands  unsurpassed  for  elegance, 
grace,  and  melodious  beauty.  The  remaining  num- 
bers of  prominent  interest  are  a  long  and  very  ver- 
satile buffo  aria  for  tenor  ("  In  quegli  anni  "),  sung  by 
Basilio,  Figaro's  stirring  march  number  ("  Ecco  la 
marcia "),  and  a  lovely  song  for  Susanna  ("  Deh, 
vieni,  non  tardar  ").  The  opera  is  full  of  life  and 


198  THE  STANDARD   OPERAS. 

human  interest.  Its  wonderful  cheerfulness  and  vital 
sympathy  appeal  to  every  listener,  and  its  bright, 
free,  joyous  tone  from  beginning  to  end  is  no  less 
fascinating  than  the  exquisite  melodies  with  which 
Mozart  has  so  richly  adorned  it.  Like  "  Don  Gio- 
vanni "  and  the  "  Magic  Flute,"  the  best  test  of  the 
work  is,  that  it  is  rounding  its  first  century  as  fresh 
and  bright  and  popular  as  ever. 


Pon  ©torjanni. 

"  Don  Giovanni,"  an  opera  buffa  in  tw">  acts, 
words  by  Da  Ponte,  was  first  produced  at  Prague, 
Oct.  29,  1787.  The  full  title  of  the  work  is  "II 
dissoluto  punito,  ossia  il  Don  Giovanni,"  and  the 
subject  was  taken  from  a  Spanish  tale  by  Tirso  de 
Molina,  called  "  El  combidado  de  piedra."  The 
original  cast  of  the  opera  was  as  follows  :  — 

DONNA  ANNA Signora  TERESA  SAFORITTI. 

DONNA  ELVIRA     ....  Signora  MICELLI. 

ZERLINA Signora  BONDINI. 

DON  OTTAVIO Signor  BAGLIONI. 

DON  GIOVANNI      ....  Signor  LIIIGI  BASSI. 

LEPORELLO Signor  FELICE  PONZIANI. 

MASETTO  and  DON  PEDRO  Signor  LOLLI. 

The  success  of  the  "  Marriage  of  Figaro  "  pre- 
pared the  way  for  "  Don  Giovanni."  Mozart  wrote 
the  opera  in  Prague,  and  completed  it,  except  the 
overture,  Oct.  28,  1787,  about  six  weeks  after  he 
arrived  in  the  city.  The  first  performance  took 


DON  GIOVANNI.  199 

place  the  next  evening.  The  overture  was  written 
during  the  night,  the  copyist  received  the  score  at 
seven  o'clock  in  the  morning,  and  it  was  played  at 
eight  in  the  evening.  He  had  only  a  week  for  stage 
rehearsals,  and  yet  the  opera  created  a  furor.  As 
an  instance  of  his  extraordinary  memory,  it  is  said 
that  the  drum  and  trumpet  parts  to  the  finale  of  the 
second  act  were  written  without  the  score,  from 
memory.  When  he  brought  the  parts  into  the 
orchestra,  he  remarked,  "  Pray,  gentlemen,  be  par- 
ticularly attentive  at  this  place,"  pointing  to  one, 
"  as  I  believe  that  there  are  four  bars  either  too  few 
or  too  many."  His  remark  was  proved  true.  It  is 
also  said  that  in  the  original  scores  the  brass  instru- 
ments frequently  have  no  place,  as  he  wrote  the 
parts  continually  on  separate  bits  of  paper,  trusting 
to  his  memory  for  the  score.  The  next  year  (1788) 
the  opera  was  brought  out  in  Vienna,  and  for  this 
production  he  wrote  four  new  numbers, —  a  recitative 
and  aria  for  Donna  Elvira  ("  In  quali  excessi,  o 
numi ")  ;  an  aria  for  Masetto  ("  Ho  capito,  Signer, 
si ")  ;  a  short  aria  for  Don  Ottavio  ("  Dalla  sua 
pace  ") ;  and  a  duet  for  Zerlina  and  Leporello  ("  Per 
queste  tue  manine  "). 

The  scene  of  the  opera  is  laid  in  Spain.  Don 
Giovanni,  a  licentious  nobleman,  becomes  enam- 
oured of  Donna  Anna,  the  daughter  of  the  Com- 
mandant of  Seville,  who  is  betrothed  to  Don  Ottavio. 
He  gains  admission  to  her  apartments  at  night,  and 
attempts  to  carry  her  away ;  but  her  cries  bring  her 
father  to  her  rescue.  He  attacks  Don  Giovanni,  and 


200  THE  STANDARD   OPERAS. 

in  the  encounter  is  slain.  The  libertine,  however, 
in  company  with  his  rascally  servant,  Leporello, 
makes  good  his  escape.  While  the  precious  pair  are 
consulting  about  some  new  amour,  Donna  Elvira, 
one  of  his  victims,  appears  and  taxes  him  with  his 
cruelty ;  but  he  flies  from  her,  leaving  her  with  Le- 
porello, who  horrifies  her  with  an  appalling  list  of 
his  master's  conquests  in  various  countries.  Don 
Giovanni  next  attempts  the  ruin  of  Zerlina,  a  peas- 
ant girl,  upon  the  very  eve  of  her  marriage  with  her 
lover,  Masetto.  Donna  Elvira,  however,  appears 
and  thwarts  his  purposes,  and  also  discovers  him  to 
Donna  Anna  as  the  murderer  of  her  father,  where- 
upon she  binds  her  lover,  Don  Ottavio,  to  avenge  his 
death.  Don  Giovanni  does  not  abandon  his  pur- 
pose, however.  He  gives  a  fete,  and  once  more 
seeks  to  accomplish  Zerlina's  ruin,  but  is  again 
thwarted  by  her  three  friends. 

The  second  act  opens  in  a  public  square  of 
Seville  at  night.  Don  Giovanni  and  Leporello 
appear  before  the  house  of  Donna  Elvira,  where 
Zerlina  is  concealed.  Leporello,  disguised  in  his 
master's  cloak,  and  assuming  his  voice,  lures  Donna 
Elvira  out,  and  feigning  repentance  for  his  conduct 
induces  her  to  leave  with  him.  Don  Giovanni 
then  proceeds  to  enter  the  house  and  seize  Zer- 
lina; but  before  he  can  accomplish  his  purpose, 
Masetto  and  his  friends  appear,  and  supposing  it  is 
Leporello  before  them,  demand  to  know  where  his 
master  is,  as  they  are  bent  upon  killing  him.  Don 
Giovanni  easily  disposes  of  Masetto,  and  then 


DON  GIOVANNI.  2OI 

rejoins  his  servant  near  the  equestrian  statue,  which 
has  been  erected  to  the  memory  of  the  murdered 
Don  Pedro.  To  their  astonishment  the  statue 
speaks,  and  warns  the  libertine  he  wall  die  before 
the  morrow.  Don  Giovanni  laughs  at  the  prophecy, 
and  invites  the  statue  to  a  banquet  to  be  given  the 
next  day  at  his  house.  While  the  guests  are  assem- 
bled at  the  feast,  an  ominous  knock  is  heard  at  the 
door  and  the  statue  unceremoniously  enters.  All 
except  Leporello  and  Don  Giovanni  fly  from  the 
room  in  terror.  The  doomed  man  orders  an  extra 
plate,  but  the  statue  extends  its  hand  and  invites 
him  to  sup  with  it.  He  takes  the  marble  hand,  and 
its  cold  fingers  clutch  him  in  a  firm  grasp.  Thrice 
the  statue  urges  him  to  repent,  and  as  many  times 
he  refuses ;  whereupon,  as  it  disappears,  demons  rise, 
seize  Don  Giovanni,  and  carry  him  to  the  infernal 
regions. 

Musically  considered,  "  Don  Giovanni "  is  re- 
garded as  Mozart's  greatest  opera,  though  it  lacks 
the  bright  joyousness  of  the  "  Marriage  of  Figaro," 
and  its  human  interest.  Its  melodies  are  more  pro- 
nounced, and  have  entered  more  freely  into  general 
use,  however,  than  those  of  the  former.  Repulsive 
as  the  story  is,  some  of  the  melodies  which  illus- 
trate it  have  been  impressed  into  the  service  of  the 
church.  The  first  act  is  introduced  with  a  humor- 
ous aria  by  Leporello  ("  Notte  e  giorno  faticar  "),  in 
which  he  complains  of  his  treatment  by  his  master. 
After  the  murder  of  Don  Pedro,  in  the  second  scene, 
occurs  a  trio  between  Donna  Elvira.  Don  Giovanni, 


202  THE  STANDARD  OPERAS. 

and  Leporello,  the  leading  motive  of  which  is  a  beau- 
tiful aria  sung  by  Donna  Elvira  ("  Ah  !  chi  mi  dici 
mai  ").  The  scene  closes  with  the  great  buffo  aria 
of  Leporello  ("  Madamina  il  catalogo  ")  popularly 
known  as  the  "  Catalogue  _Song,"  which  is  full  of 
broad  humor,  though  its  subject  is  far  from  possessing 
that  quality.  In  the  third  scene  occur  the  lovely 
duet  for  Don  Giovanni  and  Zerlina  ("  La  ci  darem, 
la  mano  "),  two  arias  of  great  dramatic  intensity  for 
Donna  Elvira  ("  Mi  tradi  ")  and  Donna  Anna  ("  Or 
sai  chi  1'  onore  "),  and  Don  Giovanni's  dashing  song, 
"  Finche  dal  vino,"  the  music  of  which  is  in  admi- 
rable keeping  with  the  reckless  nature  of  the  libertine 
himself.  The  last  scene  is  a  treasure-house  of  music, 
containing  the  exquisitely  coquettish  aria,  "Batti, 
batti,"  which  Zerlina  sings  to  the  jealous  Masetto, 
and  the  beautiful  trio  of  Donna  Anna,  Donna 
Elvira,  and  Don  Ottavio,  known  as  the  Mask  Trio, 
set  off  against  the  quaint  minuet  music  of  the  fete 
and  the  hurly-burly  which  accompanies  the  dis- 
covery of  Don  Giovanni's  black  designs. 

The  second  act  opens  with  a  humorous  duet  be- 
tween master  and  servant  ("  Eh,  via,  buffone  "),  fol- 
lowed by  the  trio,  "Ah!  taci,  inquisto  care,"  as 
Elvira  appears  at  her  window.  After  she  leaves 
with  Leporello,  Don  Giovanni  sings  a  serenade 
("  Deh  ?  vieni  all  finestra  ")  to  Zerlina,  which  is  in- 
terrupted by  the  appearance  of  Masetto  and  his 
friends.  Zerlina  is  summoned  to  the  scene  by  the 
cries  of  Masetto  after  Don  Giovanni  has  beaten 
him,  and  sings  to  him  for  his  consolation  the  beau- 


DON   GIOVANNI.  293 

tiful  aria,  "Vedrai  carino,"  which  has  more  than 
once  been  set  to  sacred  words,  and  has  become 
familiar  as  a  church  tune,  notwithstanding  the  un- 
sanctity  of  its  original  setting.  The  second  scene 
opens  with  a  strong  sextet  ("Sola,  sola,  in  bujo 
loco  "),  followed  by  the  ludicrously  solemn  appeal 
of  Leporello,  "  Ah  !  pieta,  signori  miei,"  and  that 
aria  beloved  of  all  tenors,  "  II  mio  tesoro."  The 
finale  is  occupied  with  the  scenes  at  the  statue  and 
at  the  banquet,  a  short  scene  between  Donna  Anna 
and  Don  Ottavio  intervening,  in  which  she  sings  the 
aria,  "Non  mi  dir."  The  statue  music  through- 
out is  of  a  sepulchral  character,  gradually  develop- 
ing into  strains  almost  as  cold  and  ominous  as  the 
marble  of  the  Commandant  himself,  and  yet  not 
without  an  element  of  the  grotesque  as  it  portrays 
the  terror  of  Leporello. 

It  is  said  that  in  revenge  at  his  Italian  rivals, 
Mozart  introduced  an  aria  from  Martin's  "Cosa 
Rara,"  arranged  for  wind  instruments,  and  also  a 
favorite  aria  of  Sarti's,  to  be  played  at  the  banquet 
when  the  hungry  Leporello  beholds  his  master  at 
the  table  and  watches  for  some  of  the  choice  mor- 
sels, and  parodied  them  in  an  amusing  manner.  He 
never  could  retain  an  enmity  very  long,  however, 
and  so  at  the  end  of  the  banquet  he  parodied  one 
of  his  own  arias,  the  famous  "  Non  piu  andrai,"  by 
giving  it  a  comical  turn  to  suit  Leporello's  situation. 
The  criticism  of  one  of  the  best  biographers  of 
Mozart  upon  this  opera  is  worth  repeating  in  this 
connection :  "  Whether  we  regard  the  mixture  of 


204  THE  STANDARD    OPERAS. 

passions  in  its  concerted  music,  the  profound  expres- 
sion of  melancholy,  the  variety  of  its  situations,  the 
beauty  of  its  accompaniment,  or  the  grandeur  of 
its  heightening  and  protracted  scene  of  terror  — 
the  finale  of  the  second  act,  —  '  Don  Giovanni  ' 
stands  alone  in  dramatic  eminence." 


She  P&gtc  flute. 

"  Die  Zauberflote,"  an  opera  in  two  acts,  words 
by  Emanuel  Schickaneder,  was  first  produced  at 
Vienna,  Sept.  30,  1791,  with  the  following  cast: 

QUEEN  OF  NIGHT    ....  Mme.  HOFER. 

PAMINA  ........  Mile.  GOTTLIEB. 

PAPAGENA    .......  Mme.  GORL. 

TAMINO  ........  Herr  SCHACK. 

MONOSTATOS    ......  Herr  GORL. 

SARASTRO     .......  Herr  SCHICKANEDER,  Sr. 

PAPAGENO    .......  Herr  SCHICKANEDER,  Jr. 

The  "  Magic  Flute  "  was  the  last  great  work  of  the 
composer,  and  followed  the  "  Cosi  fan  tutte,"  which 
was  given  in  January,  1791.  In  1780  Mozart 
had  made  the  acquaintance  of  Schickaneder  at 
Salzburg.  He  was  a  reckless,  dissipated  theatre 
manager,  and  at  the  time  of  the  composition  of 
the  "  Magic  Flute  "  was  running  a  small  theatre 
in  Vienna.  The  competition  of  the  larger  theatres 
had  nearly  beggared  him,  and  in  the  midst  of  his 
perplexities  he  applied  to  Mozart  to  write  him  an 
opera,  and  intimated  that  he  had  discovered  an  ad- 
mirable subject  for  a  fairy  composition.  Mozart  at 


THE  MAGIC  FLUTE. 


205 


first  objected ;  but  Schickaneder,  like  himself,  was 
a  Freemason ;  he  had  been  his  companion  in  dissi- 
pation, and  exercised  a  great  influence  over  him. 
Mozart  at  last  consented.  A  compact  was  made, 
and  Schickaneder  set  to  work  on  the  libretto.  As 
he  was  a  popular  buffoon,  he  invented  the  part  of 
Papageno,  the  bird-catcher,  for  himself,  and  arranged 
that  it  should  be  dressed  in  a  costume  of  feathers. 
It  is  a  trivial  part,  but  Schickaneder  intended  to 
tickle  the  fancy  of  the  public,  and  succeeded.  The 
first  act  was  finished,  when  it  was  found  that  the 
same  subject  had  been  chosen  by  a  rival  theatre, 
the  Leopold  Stadt,  which  speedily  announced  the 
opera  of  "  Kaspar  der  Fagottist,  oder  die  Zauber- 
Zither,"  by  a  popular  composer,  Wenzel  Miiller. 
The  piece  had  a  successful  run,  and  in  order  to  pre- 
vent a  duplication,  Schickaneder  reversed  the  point 
of  his  story,  and  changed  the  evil  magician,  who  stole 
the  daughter  of  the  Queen  of  Night,  into  a  great 
philosopher  and  friend  of  man.  It  is  owing  to  this 
change  that  we  have  the  magnificent  character  of 
Sarastro,  with  its  impressive  music. 

The  scene  of  the  opera  is  laid  in  Egypt.  Saras- 
tro, the  high-priest  of  Isis,  has  induced  Pamina  to 
leave  her  mother,  Astrifiamenti,  the  Queen  of  Night, 
who  represents  the  spirit  of  evil,  and  come  to  his 
temple,  where  she  may  be  trained  in  the  ways  of 
virtue  and  wisdom.  At  the  opening  of  the  opera 
the  dark  Queen  is  trying  to  discover  some  plan  of 
recovering  her  daughter  and  punishing  Sarastro.  In 
the  first  act  appears  Tamino,  an  Egyptian  prince, 


206  THE   STANDARD   OPERAS. 

who  has  lost  his  way,  and  is  attacked  by  a  huge  ser- 
pent, from  which  he  is  rescued  by  the  three  attend- 
ants of  the  Queen.  The  latter  accosts  him,  tells  him 
her  daughter's  story,  and  demands  that,  as  the  cost 
of  his  deliverance,  he  shall  rescue  her.  He  con- 
sents. She  gives  him  a  magic  flute,  and  with  his 
companion  Papageno,  a  rollicking  bird-catcher,  who 
is  also  presented  with  a  magical  chime  of  bells,  they 
Bet  out  for  Sarastro's  temple.  Papageno  arrives  there 
first,  and  in  time  to  rescue  Pamina  from  the  perse- 
cutions of  Monostatos,  a  slave,  who  flies  when  he 
beholds  Papageno  in  his  feather  costume,  fancying 
him  the  Devil.  They  seek  to  make  their  escape, 
but  are  intercepted.  Tamino  also  is  caught,  and 
all  are  brought  before  Sarastro.  The  prince  con- 
sents to  become  a  novitiate  in  the  sacred  rites,  and 
to  go  through  the  various  stages  of  probation  and 
purification,  and  Pamina  again  returns  to  her  duties. 
The,y  remain  faithful  to  their  vows,  and  the  last  or- 
deal, that  of  passing  through  a  burning  lake  up  to 
the  altar  of  the  temple,  is  triumphantly  accomplished. 
The  Queen  of  Night,  however,  does  not  abandon 
her  scheme  of  revenge.  She  appears  to  Pamina  in 
her  sleep,  gives  her  a  dagger,  and  swears  that  unless 
she  murders  Sarastro  she  will  cast  her  off  forever. 
Pamina  pays  no  heed  to  her  oath,  but  goes  on  with 
her  sacred  duties,  trusting  to  Sarastro's  promise  that 
if  she  endures  all  the  ordeals  she  will  be  forever 
happy.  In  the  closing  scene,  Monostatos,  who  has 
been  inflamed  against  Sarastro  by  the  Queen,  seeks 
to  kill  him,  but  is  vanquished  by  the  might  of  the 


THE   MAGIC  FLUTE. 


207 


priest's  presence  alone.  The  night  of  the  ordeals 
is  over.  At  a  sign  from  Sarastro,  the  full  sunlight 
pours  in  upon  them.  The  evil  spirits  all  vanish, 
and  Tamino  and  Pamina  are  united  amid  the  tri- 
umphant choruses  of  the  priests  and  attendants, 
as  the  reward  of  their  fidelity. 

In  the  opening  scene,  after  the  encounter  of  Ta- 
mino with  the  serpent,  Papageno  has  a  light  and 
catching  song  ("  Der  Vogelfanger  bin  ich  ja"), 
which,  like  all  of  Papageno 's  music,  was  specially 
written  for  Schickaneder,  and  has  been  classed 
under  the  head  of  the  "Viennese  ditties."  Melo- 
dious as  Mozart  always  is,  these  songs  must  be 
regarded  as  concessions  to  the  buffoon  who  sang 
them.  Papageno's  song  is  followed  by  another  in 
a  serious  strain  ("  Dies  Bildniss  ist  bezaubernd 
scho'n  ")  sung  by  Tamino.  In  the  sixth  scene  oc- 
curs the  first  aria  for  the  Queen  of  Night  ("  O  zittre 
nicht,  mein  lieber  Sohn  "),  which,  like  its  companion 
to  be  mentioned  later,  is  a  remarkable  exercise  in 
vocal  power,  range,  and  gymnastics,  written  for  an 
exceptional  voice.  The  next  scene,  known  as  the 
Padlock  Quintet,  is  very  simple  and  flowing  in 
style,  and  will  always  be  popular  for  its  humorous 
and  melodious  character.  In  the  eleventh  scene 
occurs  the  familiar  duet  between  Pamina  and  Papa- 
geno, "  Bei  Mannern,  welche  Liebe  fiillen,"  which 
has  done  good  service  for  the  church,  and  will  be 
recognized  in  the  English  hymn  version,  "  Serene 
I  laid  me  down."  It  leads  up  to  the  finale,  be- 
ginning, "  Zum  Ziehle  fiihrt  dich  diese  Balm,"  and 


2o8  THE  STANDARD   OPERAS. 

containing  a  graceful  melody  for  Tamino  ("  O  class 
ich  doch  im  Stande  ware  "),  and  another  of  the 
Viennese  tunes,  "  Konnte  jeder  brave  Mann,"  —  a 
duet  for  Papageno  and  Pamina,  with  chorus. 

The  second  act  opens  with  a  stately  march  and 
chorus  by  the  priests,  leading  up  to  Sarastro's  first 
great  aria  ("O  Isis  und  Osiris"),  a  superb  invoca- 
tion in  broad,  flowing  harmony,  and  the  scene  closes 
with  a  strong  duet  by  two  priests  ("  Bewahret  euch 
vor  Weibertiicken.")  The  third  scene  is  a  quintet 
for  Papageno,  Tamino,  and  the  Queen's  three  at- 
tendants ("  Wie  ihr  an  diesem  Shreckensort?"), 
and  is  followed  by  a  sentimental  aria  by  Monostatos 
("  Alles  fiihlt  der  Liebe  Freuden").  In  the  next 
scene  occurs  the  second  and  greatest  aria  of  the 
Queen  of  Night  ("  Der  Holle  Rache  kocht  "),  which 
was  specially  written  to  show  off  the  bravura  ability 
of  the  creator  of  the  part,  and  has  been  the  despair 
of  nearly  all  sopranos  since  her  time.  In  striking 
contrast  with  it  comes  the  majestic  aria  for  Sarastro 
in  the  next  scene  ("  In  diesen  heil'gen  Hallen  "), 
familiarly  known  on  the  concert-stage  by  its  English 
title,  "  In  these  sacred  Halls,"  the  successful  per- 
formance of  which  may  well  be  the  height  of  any 
basso's  ambition.  In  the  twelfth  scene  there  is  a 
terzetto  by  the  three  boys  ("  Seid  uns  zum  zweiten- 
mal "),  and  in  the  next  scene  a  long  and  florid  aria 
for  Pamina  ("  Ach  !  ich  ftihl's  es  ist  verschwun- 
den  "),  full  of  plaintive  chords  and  very  sombre  in 
color.  The  sixteenth  scene  contains  another  stately 
chorus  of  priests  ("  O  Isis  und  Osiris  "),  based  upon 
a  broad  and  massive  harmony,  which  is  followed 


THE  MAGIC  FLUTE.  209 

by  a  terzetto  between  Sarastro,  Pamina,  and  Tamino 
("Soil  ich  dich,  Theurer  nicht  mehr  sehen?"). 
Once  more  a  concession  to  the  buffoon  occurs  in 
a  melody  "  Ein  Madchen  oder  Weibchen,"  which 
would  be  commonplace  but  for  Mozart's  treatment 
of  the  simple  air.  The  finale  begins  with  another 
terzetto  for  the  three  boys  ("  Bald  prangt,  den  Mor- 
gen  zu  verkiinden").  It  may  be  termed  a  finale 
of  surprises,  as  it  contains  two  numbers  which  are 
as  far  apart  in  character  as  the  poles,  —  the  first,  an 
old  choral  melody  ("  Der,  welcher  wandelt  diese 
Strasse  "),  the  original  being,  "  Christ,  our  Lord,  to 
Jordan  came,"  set  to  an  accompaniment,  strength- 
ened by  the  trombones  and  other  wind  instruments ; 
and  the  second,  a  nonsense  duet  ("  Pa-pa-Papa- 
geno  ")  for  Papageno  and  Papagena,  which  would 
close  the  opera  in  a  burst  of  childish  hilarity  but  for 
the  solemn  concluding  chorus  of  the  priests  ("  Heil 
sei  euch  Geweithen  "). 

The  great  charm  of  the  opera  is  its  originality,  and 
the  wonderful  freshness  and  fruitfulness  of  the  com- 
poser in  giving  independent  and  characteristic  melo- 
dies to  every  character,  as  well  as  the  marvellous 
combination  of  technicality  with  absolute  melody. 
Beethoven  said  of  it  that  this  was  Mozart's  one  Ger- 
man opera  in  right  of  the  style  and  solidity  of  its 
music.  Jahn,  in  his  criticism,  says  :  "  '  The  Zauber- 
flote '  has  a  special  and  most  important  position 
among  Mozart's  operas.  The  whole  musical  concep- 
tion is  pure  German,  and  here  for  the  first  time  Ger- 
man opera  makes  free  and  skilful  use  of  all  the 
elements  of  finished  art." 
14 


ROSSINI. 

JIIOACHINI  ANTONIO  ROSSINI  was 
born  at  Pesaro,  Italy,  Feb.  29,  1792. 
His  early  lessons  in  music  were  taken 
with  Tesei,  and  as  a  lad  he  also  appeared 
upon  the  stage  as  a  singer.  In  1 807  he  was  admitted 
to  the  class  of  Padre  Mattel  at  the  Bologna  Conser- 
vatory, where  he  took  a  prize  for  a  cantata  at  the 
end  of  his  first  year.  At  the  beginning  of  his  ca- 
reer in  Italy  he  was  commissioned  to  write  an  opera 
for  Venice.  It  was  "  La  Cambiale  di  Matrimonio," 
«n  opera  buffa  in  one  act,  and  was  produced  in  1810. 
During  the  next  three  years  he  wrote  several  works 
for  Venice  and  Milan,  which  were  successful,  but 
none  of  them  created  such  a  furor  as  "Tancredi." 
This  was  followed  by  "  L'  Italiana  in  Algeri,"  "  Aure- 
liano  in  Palmira,"  and  "  II  Turco  in  Italia."  In 
1815  appeared  "The  Barber  of  Seville."  Strange 
as  it  may  seem,  it  was  at  first  condemned,  not  on  its 
merits,  but  because  the  composer  had  trenched,  as 
it  was  supposed,  upon  the  ground  already  occupied 


KOSSINL  211 

by  the  favorite  Paisiello,  though  he  applied  to  the 
latter  before  writing  it,  and  received  his  assurances 
that  he  had  no  objection  to  his  use  of  the  same 
subject.  "  Otello  "  followed  the  «'  Barber  "  at  Naples 
in  1816,  and  "  Cenerentola  "in  1817,  and  both  were 
extraordinarily  successful.  The  "  Gazza  Ladra  "  was 
produced  at  Milan  in  1817,  and  was  followed  by 
"  Armida  "  at  Naples  in  the  same  year.  His  next 
great  work  was  the  oratorio,  "  Moses  in  Egypt," 
which  is  also  given  as  opera.  The  "Donna  del 
Lago,"  based  upon  Walter  Scott's  "  Lady  of  the 
Lake,"  was  produced  at  Naples  in  1819.  The  same 
year  he  opened  the  Carnival  in  Milan  with  "  Bianca 
e  Faliero,"  and  before  its  close  he  produced  "Mao- 
metto  secondo  "  at  Naples.  During  the  next  two  or 
three  years  his  muse  was  very  prolific,  and  in  1823 
appeared  another  of  his  great  works,  "  Semiramide," 
which  made  a  furor  at  Venice.  That  year  he  went 
to  London  and  gave  conceits,  in  which  he  sang,  and 
thence  to  Paris,  which  now  became  his  home.  His 
greatest  work  for  Paris  was  "William  Tell,"  which 
was  produced  in  1829,  and  it  was  also  his  last, 
though  by  an  arrangement  with  the  Government  of 
Charles  X.  it  was  to  be  the  first  of  a  series  of  five. 
The  revolution  of  1830  destroyed  his  plans.  In 
1836  he  heard  Meyerbeer's  "Huguenots,"  and  re- 
solved to  write  no  more.  Four  years  before  this  he 
had  written  the  "  Stabat  Mater,"  but  it  was  not  pro- 
duced complete  until  1842.  From  this  time  on  he 
lived  at  his  villa  at  Passy  the  life  of  a  voluptuary 
and  died  there  Nov.  13,  1868.  The  catalogue  of  his 


2I2  THE    STANDARD    OPERAS. 

works  is  immense,  including  fifty  operas  alone,  of 
which  in  a  necessarily  brief  sketch  it  has  been  pos- 
sible to  mention  only  those  best  known. 


Sflje  Barber  of  jfcmlle. 

"  II  Barbiere  di  Siviglia,"  an  opera  buffa  in  two 
acts,  words  by  Sterbini,  founded  on  Beaumarchais's 
comedy,  was  first  produced  at  the  Argentina  Theatre, 
Rome,  Feb.  5,  1816,  with  the  following  cast :  — 

ROSINA Mme.  GIORGI  RIGHETTI. 

BERTA Mile.  Rossi. 

FIGARO Sig.  LUIGI  ZAMBONI. 

COUNT  ALMAVIVA      ....  Sig.  GARCIA. 

BARTOLO Sig.  BOTTICELLI. 

BASILIO Sig.  VITTARELLI. 

The  story  of  the  writing  of  "  The  Barber  of  Se- 
ville "  is  of  more  than  ordinary  interest.  Rossini  had 
engaged  to  write  two  operas  for  the  Roman  Carni- 
val of  1816.  The  first  was  brought  out  Dec.  26, 
1815,  and  the  same  day  he  bound  himself  to  furnish 
the  second  by  Jan.  20,  1816,  with  no  knowledge  of 
what  the  libretto  would  be.  Sterbini  furnished  him 
with  the  story  of  the  "  Barber  "  by  piecemeal,  and 
as  fast  as  the  verses  were  given  him  he  wrote  the 
music.  The  whole  work  was  finished  in  less  than 
three  weeks.  Its  original  title  was  "  Almaviva,  ossia 
1'  inutile  precauzione,"  to  distinguish  it  from  Pai- 
siello's  "  Barber  of  Seville."  The  original  overture 


THE  BARBER   OF  SEVILLE. 


213 


was  lost  in  some  manner,  and  that  of  "  Aureliano  " 
substituted.  In  the  scene  beneath  Rosina's  bal- 
cony Garcia  introduced  a  Spanish  air  of  his  own  ; 
but  it  failed,  and  before  the  second  performance 
Rossini  wrote  the  beautiful  cavatina,  "  Ecco  ridente 
il  cielo "  in  its  place,  the  melody  borrowed  from 
the  opening  chorus  of  his  "Aureliano,"  and  that  in 
turn  from  his  "  Giro  in  Babilonia."  The  subject  of 
the  effective  trio,  "Zitti,  zitti,"  was  taken  from 
Haydn's  "  Seasons,"  and  the  aria  sung  by  the  duenna 
Berta  ("  II  vechiotto  cerca  moglie  "),  from  a  Russian 
melody  he  had  heard  a  lady  sing  in  Rome  and  in- 
troduced for  her  sake.  For  the  music-lesson  scene 
Rossini  wrote  a  trio  which  has  been  lost ;  and  thus  an 
opportunity  has  been  given  Rosinas  to  interpolate 
what  they  please. 

The  scene  of  the  opera  is  laid  at  Seville,  Spain. 
Count  Almaviva  has  fallen  in  love  with  Rosina,  the 
ward  of  Dr.  Bartolo,  with  whom  she  resides,  and 
who  wishes  to  marry  her  himself.  After  serenading 
his  mistress,  who  knows  him  only  by  the  name  of 
Count  Lindoro,  he  prevails  upon  Figaro,  the  factotum 
of  the  place,  to  bring  about  an  interview  with  her. 
In  spite  of  her  guardian's  watchfulness,  as  well  as 
that  of  Don  Basilio,  her  music-teacher,  who  is  help- 
ing Bartolo  in  his  schemes,  she  informs  the  Count 
by  letter  that  she  returns  his  passion.  With  Figaro's 
help  he  succeeds  in  gaining  admission  to  the  house 
disguised  as  a  drunken  dragoon,  but  this  stratagem 
is  foiled  by  the  entrance  of  the  guard,  who  arrest 
him,  A  second  time  he  secures  admission,  disguised 


214  THE    STANDARD    OPERAS. 

as  a  music-teacher,  and  pretending  that  he  has  been 
sent  by  Don  Basilic,  who  is  ill,  to  take  his  place. 
To  get  into  Bartolo's  confidence  he  produces  Rosi- 
na's  letter  to  himself,  and  promises  to  persuade  her 
that  the  letter  has  been  given  him  by  a  mistress  of 
the  Count,  and  thus  break  off  the  connection  between 
the  two.  By  this  means  he  secures  thfe  desired  in- 
terview, and  an  elopement  and  private  marriage  are 
planned.  In  the  midst  of  the  arrangements,  how- 
ever, Don  Basilio  puts  in  an  appearance,  and  the 
disconcerted  lover  makes  good  his  escape.  Mean- 
while Bartolo,  who  has  Rosina's  letter,  succeeds  in 
arousing  the  jealousy  of  his  ward  with  it,  who  there- 
upon discloses  the  proposed  elopement  and  prom- 
ises to  marry  her  guardian.  At  the  time  set  for  the 
elopement  the  Count  and  Figaro  appear.  A  recon- 
ciliation is  easily  effected,  a  notary  is  at  hand,  and 
they  are  married  just  as  Bartolo  makes  his  appear- 
ance with  officers  to  arrest  the  Count.  Mutual  ex- 
planations occur,  however,  and  all  ends  happily. 

The  first  act  opens  after  a  short  chorus,  with  the 
serenade,  "  Ecco  ridente  in  cielo,"  the  most  beau- 
tiful song  in  the  opera.  It  begins  with  a  sweet 
and  expressive  largo  and  concludes  with  a  florid 
allegro,  and  is  followed  by  a  chorus  in  which  the 
serenaders  are  dismissed.  In  the  second  scene 
Figaro  enters,  and  after  some  brief  recitatives  sings 
the  celebrated  buffo  aria,  "  Largo  al  factotum,"  in 
which  he  gives  an  account  of  his  numerous  avoca- 
tions. The  aria  is  full  of  life  and  gayety,  and  won- 
derfully adapted  to  the  style  of  the  mercurial  Figaro. 


THE  BARBER   OF  SEVILLE.  215 

A  light  and  lively  duet  between  Figaro  and  the 
Count,  closing  with  the  sprightly  melody,  "  Ah  !  che 
d'amore,"  leads  up  to  the  chamber  aria  of  Rosina, 
so  well  known  on  the  concert- stage,  "Una  voce 
poco  fa,"  which  is  not  only  very  expressive  and  of 
great  compass,  but  is  remarkably  rich  in  ornamen- 
tation. A  short  dialogue  in  recitative  then  occurs 
between  Bartolo  and  Basilio,  in  which  they  plot  to 
circumvent  Rosina  by  calumny,  which  gives  occasion 
for  the  Calumny  aria,  as  it  is  generally  known  ("  La 
calunnia "),  a  very  sonorous  bass  solo,  sung  by 
Basilio.  Another  dialogue  follows  between  Figaro 
and  Rosina,  leading  to  the  florid  duet,  "  E  il  maestro 
io  faccio."  A  third  dialogue  follows  between  Ro- 
sina and  Bartolo,  ending  in  a  bass  aria  ("  Non  piu 
tacete"),  very  similar  in  its  general  style  to  the 
Calumny  song,  but  usually  omitted  in  performances. 
In  the  tenth  scene  the  Count  arrives  disguised  as 
the  drunken  soldier,  and  the  finale  begins.  It 
is  composed  of  three  scenes  very  ingeniously  ar- 
ranged, and  full  of  glittering  dialogue  and  very 
melodious  passages. 

The  second  act  opens  with  a  soliloquy  by  Bartolo 
("  Ma  redi  il  mio  destino  "),  in  which  he  gives  vent 
to  his  suspicions.  It  is  interrupted  at  last  by  a  duet 
with  the  Count,  in  which  the  two  characters  are 
strikingly  set  off  by  the  music.  The  music-lesson 
scene  follows,  in  which  the  artist  personating  Ro- 
sina is  given  an  opportunity  for  interpolation.  In 
the  next  scene  occurs  a  dialogue  quintet,  which  is 
followed  by  a  long  aria  ("  Sempre  gridi ")  by  the 


216  THE    STANDARD    OPERAS. 

duenna  Bertha,  called  by  the  Italians  the  "Aria 
de  Sorbetto,"  because  the  people  used  to  eat  ices 
while  it  was  sung ;  reminding  one  of  the  great  aria 
from  "  Tancredi,"  "  Di  tanti  palpiti,"  which  they 
called  the  "  aria  dei  rizzi,"  because  Rossini  composed 
it  while  cooking  his  rice.  In  the  eighth  scene,  after 
a  long  recitative,  an  instrumental  prelude  occurs, 
representing  a  stormy  night,  followed  by  a  recitative 
in  which  the  Count  reveals  himself,  leading  up  to  a 
florid  trio,  and  this  in  turn  to  the  elegant  terzetto, 
"Zitti,  zitti."  A  bravura  and  finale  of  light  and 
graceful  melody  close  the  opera. 

j&enuramtlie. 

"  Semiramide  "  a  lyric  tragedy  in  two  acts,  words 
by  Gaetano  Rossi,  the  subject  taken  from  Voltaire's 
"  Semiramis,"  was  first  produced  at  the  Fenice, 
Venice,  Feb.  3,  1823,  with  the  following  cast :  — 

SEMIRAMIDE     ......  Mme.  ROSSINI-COLBRAN. 

ARSACES Mme.  MARIANI. 

IDRENO Mr.  SINCLAIR. 

ASSUR Sig.  GALLI. 

OROE Sig.  MARIANI. 

On  the  Qth  of  July  it  was  produced  in  French  at 
the  Academic,  Paris,  as  "  Semiramis,"  with  Carlotta 
Marchisio  as  Semiramide,  Barbara,  her  sister,  as 
Arsaces,  and  M.  Obin  as  Assur.  At  Rossini's  request 
M.  Carafa  arranged  the  recitatives  and  wrote  the 
ballet  music.  "  Semiramide "  was  the  last  opera 
Rossini  wrote  for  Italy ;  and  so  far  did  he  depart  from 


S EMIR  A  MIDE.  2 1 7 

the  conventional  Italian  style,  that  he  was  charged 
with  imitating  the  German.  It  was  probably  for  this 
reason  that  the  opera  when  first  performed  did  not 
meet  with  a  kindly  reception  from  the  Venetians. 
Although  he  was  occupied  six  months  in  negotiating 
for  his  stipulated  price  (one  thousand  dollars),  he 
wrote  the  opera  in  three  weeks.  Of  its  first  perform- 
ance, a  correspondent  of  the  "  Harmonicon,"  who 
was  present,  writes  :  "  The  first  act,  which  lasted  two 
hours  and  fifteen  minutes,  was  received  very  coldly, 
with  the  exception  of  one  passage  in  the  overture, 
which  overture,  however,  was  unconscionably  long. 
The  second  act,  which  lasted  two  hours  and  a  half, 
began  to  please  in  an  air  of  Mariani,  but  the  ap- 
plause was  rather  directed  to  this  favorite  singer. 
After  this  a  duet  between  her  and  Colbran,  together 
with  an  air  of  Galli,  and  particularly  a  terzetto  be- 
tween him  and  the  two  ladies,  were  well  received. 
Rossini  was  also  called  for  at  the  end  of  the  second 
act.  It  is  all  over  with  Madame,  his  own  wife  " 
(Mme.  Colbran),  who  took  the  title-role. 

The  scene  of  the  opera  is  laid  in  Babylon,  and  the 
story  briefly  told  is  as  follows :  Ninus,  the  King 
of  Babylon,  has  been  murdered  by  his  Queen,  Semira- 
mis,  aided  by  Assur,  a  prince  enamoured  of  her  and 
aspiring  to  the  throne.  One  of  the  Queen's  warriors, 
Arsaces,  supposed  to  be  of  Scythian  origin,  but  in 
reality  her  own  son,  returns  from  a  foreign  expedi- 
tion and  is  loaded  with  honors  for  the  victory  he 
has  won.  Semiramis,  ignorant  of  his  parentage,  has 
a  secret  passion  for  him,  he  in  the  mean  time  being 


218  THE    STANDARD    OPERAS. 

devoted  to  Azema,  one  of  the  princesses  royal.  As 
all  gather  together  in  the  temple  to  swear  allegiance 
to  the  Queen,  the  gates  of  Ninus's  tomb  suddenly 
open,  and  his  ghost  appears  and  announces  that 
Arsaces  will  be  the  successor  to  the  crown.  At  mid- 
night Semiramis,  Assur,and  Arsaces  meet  at  the  tomb, 
and  by  mistake  Assur  stabs  her  instead  of  Arsaces, 
who  in  turn  kills  Assur,  and,  all  obstacles  being  re- 
moved, is  united  to  Azema  and  ascends  the  throne. 
An  introductory  chorus  of  Babylonians  and  a  ter- 
zetto by  Idreno,  Assur,  and  Oroe  open  the  opera  and 
lead  up  to  the  first  appearance  of  Semiramis,  which 
is  followed  by  a  very  dramatic  quartet  ("  Di  tanti 
regi ").  In  the  fourth  scene  Arsaces  has  a  very 
brilliant  aria  ("  O  !  come  da  quel  di  "),  which  also 
did  service  in  one  or  two  of  Rossini's  other  operas, 
and  is  followed  by  a  very  animated  duet  ("  Bella 
imago  degli  dei ")  between  himself  and  Assur.  The 
eighth  scene  is  introduced  by  a  graceful  female 
chorus  which  leads  to  Semiramis's  brilliant  and 
well-known  aria,  "  Bel  raggio."  In  the  tenth  scene 
occurs  an  elegant  duet  ("  Serbami  agnor  si  fido  "), 
followed  in  the  next  scene  by  a  stately  priests'  march 
and  chorus  ("  Ergi  omai  la  fronte  altera  "  ),  set  to 
ecclesiastical  harmony  and  accompanied  by  full 
military  band  as  well  as  orchestra,  this  being  the 
first  instance  where  a  military  band  was  used  in 
Italian  opera.  It  leads  to  the  finale,  where  Semira- 
mis on  her  throne  announces  to  her  people  her 
choice  for  their  future  king.  The  oath  of  allegiance 
follows  in  an  impressive  quartet  with  chorus  ("  Giuro 


SEMIRAMIDE.  2 1 9 

al  numi "),  and  a  defiant  aria  by  the  Queen  leads  to 
the  sudden  appearance  of  the  ghost  of  Ninus,  ac- 
companied by  characteristic  music  repeated  in  quin- 
tet with  chorus.  As  the  ghost  speaks,  the  statue 
scene  in  Don  Giovanni  is  inevitably  recalled,  espe- 
cially in  some  phrases  which  are  literally  copied. 

The  second  act  opens  with  a  vindictively  passion- 
ate duet  ("  Assur,  i  cenni  miei ")  between  Assur  and 
Semiramis,  closing  with  a  fierce  outburst  of  hatred 
("  La  forza  primiera  ").  The  scene  is  a  very  long 
and  spirited  one,  and  is  followed  by  a  second  chorus 
of  priests,  leading  to  a  great  aria  with  chorus  ("  Ah  ! 
tu  gelar  mi  fai ")  for  Arsaces.  In  the  fifth  scene 
occurs  a  long  duet  between  Arsaces  and  Semiramis, 
the  second  part  of  which  ("  Giorno  d'  orrore  ")  is 
the  strongest  number  in  the  opera.  Though  'in- 
tensely passionate  in  its  tone,  the  music  is  smooth 
and  flowing  and  very  florid  for  both  voices.  The 
seventh  scene  is  composed  of  a  scena,  aria  and  cho- 
rus, followed  by  still  another  chorus  in  the  mauso- 
leum. Semiramis  sings  a  prayer  of  great  pathos  and 
beauty  ("Ah  mio  pregar  ").  A  terzetto  ("  L'  usato 
ardir"),  which  like  the  mausoleum  chorus  is  based 
upon  an  aria  from  Mozart's  "  Cosi  fan  tutti,"  closes 
the  opera.  "The  Harmonicon,"  to  which  refer- 
ence has  already  been  made,  in  an  analysis  of  the 
work,  has  the  following  apt  criticism  :  "  It  has  been 
said,  and  truly,  that  '  Semiramide '  is  composed  in 
the  German  style,  but  it  is  the  German  style  exagger- 
ated. Rossini  is  become  a  convert  to  this*  school, 
and  his  conversion  does  his  judgment  credit,  though 


220  THE    STANDARD    OPERAS. 

like  all  proselytes  he  passes  into  extremes.  Not 
satisfied  with  discarding  the  meagre  accompaniments 
of  the  Italian  composers,  he  even  goes  far  beyond 
the  tramontane  masters  in  the  multitude  and  use  of 
instruments,  and  frequently  smothers  his  concerted 
pieces  and  choruses  by  the  overwhelming  weight  of 
his  orchestra."  But  what  would  the  "  Harmonicon" 
have  said,  had  it  had  Wagner's-  instrumentation 
before  it? 

William  STell 

"  William  Tell,"  an  opera  in  three  acts,  words  by 
Etienne  Jouy  and  Hippolyte  Bis,  the  subject  taken 
from  Schiller's  drama  of  the  same  name,  was  first 
produced  at  the  Academic,  Paris,  Aug.  3,  1829,  with 
the  following  cast :  — 

MATHILDE Mme.  DAMOREAU-CINTI. 

JEMMY Mme.  DABODIE. 

HEDWIG Mile.  MORI. 

ARNOLD      ........  M.  NOURRIT. 

WALTER M.  LEVASSEUR. 

TELL      . M.  DABODIE. 

RUODI M.  DUPONT. 

RODOLPHE M.  MASSOL. 

GESSLER M.  PREVOST. 

LEUTOLD M.  PREv6r. 

Rossini  wrote  for  Paris  only  two  new  operas,  "  Le 
Comte  Ory  "  and  "  William  Tell,"  —  the  latter  his 
masterpiece  in  the  serious  style.  The  libretto  was 
first  prepared  by  M.  Jouy,  but  it  was  so  bad  that 
M.  Bis  was  called  in,  and  to  him  is  due  the  whole 


WILLIAM  TELL.  22 1 

of  the  second  act.  Even  after  the  two  authors  had 
changed  and  revised  it,  Rossini  had  to  alter  it  in 
many  places.  When  it  was  first  performed  the 
weakness  of  the  drama  was  at  once  recognized, 
though  its  music  was  warmly  welcomed,  especially 
by  the  critical.  It  was  represented  fifty-six  times  in 
its  original  form,  and  was  then  cut  down  to  three 
acts,  the  original  third  act  being  omitted  and  the 
fourth  and  fifth  condensed  into  one.  For  three 
years  after  this  time  the  second  act  was  alone  per- 
formed in  Paris ;  but  when  M.  Duprez  made  his 
d£but  in  the  part  of  Arnold,  a  fresh  enthusiasm  was 
aroused,  and  there  was  a  genuine  Tell  revival. 

The  scene  of  the  opera  is  laid  in  Switzerland, 
period  the  thirteenth  century,  and  the  action  closely 
follows  the  historical  narrative.  The  disaffection 
which  has  arisen  among  the  Swiss,  owing  to  the 
tyranny  of  Gessler,  suddenly  comes  to  a  climax 
when  one  of  Gessler's  followers  attempts  an  outrage 
upon  the  only  daughter  of  the  herdsman  Leutold, 
and  meets  his  death  at  the  hands  of  the  indignant 
father.  Leutold  seeks  protection  at  the  hands  of 
Tell,  who,  in  the  face  of  the  herdsman's  pursuers, 
succeeds  in  placing  him  beyond  the  reach  of 
danger,  and  this  circumstance  arouses  the  wrath  of 
Gessler.  Melchtal,  the  village  patriarch,  is  accused 
by  him  of  inciting  the  people  to  insubordination, 
and  is  put  to  death.  Meanwhile  Arnold,  his  son, 
is  enamoured  of  Mathilde,  Gessler's  daughter,  and 
hesitates  between  love  and  duty  when  he  is  called 
upon  to  avenge  his  father's  death.  At  last  duty 


222  THE    STANDARD    OPERAS. 

prevails,  and  he  joins  his  comrades  when  the  men 
of  the  three  cantons,  who  are  loyal  to  Tell,  meet 
and  swear  death  to  the  tyrant.  In  the  last  act  oc- 
curs the  famous  archery  scene.  To  discover  the 
leading  offenders  Gessler  erects  a  pole  in  the  square 
of  Altorf,  upon  which  he  places  his  hat  and  com- 
mands the  people  to  do  homage  to  it.  Tell  refuses, 
and  as  a  punishment  is  ordered  to  shoot  an  apple 
from  his  son's  head.  He  successfully  accomplishes 
the  feat,  but  as  he  is  about  to  retire  Gessler  ob- 
serves a  second  arrow  concealed  in  his  garments, 
and  inquires  the  reason  for  it,  when  Tell  boldly  re- 
plies it  was  intended  for  him  in  case  the  first  had 
killed  his  son.  Gessler  throws  him  into  prison, 
whereupon  Mathilde  abandons  her  father  and  de- 
termines to  help  in  the  rescue  of  Tell  and  his  son. 
Her  lover,  Arnold,  meanwhile,  raises  a  band  of 
brave  followers  and  accomplishes  the  rescue  him- 
self. After  slaying  the  tyrant  and  freeing  his  country 
Tell  returns  to  his  family,  and  Arnold  and  Mathilde 
are  united. 

The  overture  to  "William  Tell,"  with  its  Alpine 
repose,  its  great  storm-picture,  the  stirring  "  Ranz 
des  Vaches,"  and  the  trumpet-call  to  freedom,  is 
one  of  the  most  perfect  and  beautiful  ever  written, 
and  is  so  familiar  that  it  does  not  need  analysis. 
The  first  act  opens  with  a  delightfully  fresh  Alpine 
chorus  ("  E  il  ciel  sereno  "),  which  is  followed  by 
a  pastoral  quartet  between  a  fisherman,  Tell,  Hed- 
wig,  and  Jemmy.  Arnold  enters,  and  a  long  duet, 
one  of  Rossini's  finest  inspirations,  follows  between 


WILLIAM  TELL.  223 

Arnold  and  Tell.  The  duet  is  interrupted  by  the 
entrance  of  several  of  the  peasants  escorting  two 
brides  and  bridegrooms,  which  is  the  signal  for  a 
most  graceful  chorus  and  dance  ("  Cinto  il  crine  "). 
Leutold  then  appears,  seeking  Tell's  protection,  and 
a  very  dramatic  finale  begins,  closing  with  the  arrest 
of  Melchtal,  which  leads  to  an  ensemble  of  great 
power. 

The  second  act  opens  with  a  double  chorus  of 
huntsmen  and  shepherds  ("  Qual  silvestre  metro 
interne  "),  which  is  followed  by  a  scena  preluding 
a  charming  romanza  ("  Selva  opaco ")  sung  by 
Mathilda.  Its  mild,  quiet  beauty  is  in  strange  con- 
trast with  the  remainder  of  this  great  act.  It  is 
followed  by  a  passionate  duet  with  Arnold,  a  sec- 
ond and  still  more  passionate  duet  between  Tell 
and  Walter,  which  leads  to  the  magnificent  trio  of 
the  oath  ("  La  gloria  inflammi  "),  and  this  in  turn 
is  followed  by  the  splendid  scene  of  the  gathering 
of  the  cantons.  For  melodic  and  harmonic  beauty 
combined,  the  spirited  treatment  of  masses,  and 
charm  and  variety  of  color,  this  great  scene  stands 
almost  alone. 

The  last  act  opens  with  a  duet  between  Mathilde 
and  Arnold,  which  is  followed  in  the  next  scene 
by  a  march  and  chorus  as  the  multitude  gathers  in 
the  square  of  Altorf,  closing  with  a  lovely  Tyrolean 
chorus  sung  by  the  sopranos  and  accompanied  with 
the  dance.  The  dramatic  scene  of  the  archery  fol- 
lows, and  then  Arnold  has  a  very  passionate  aria 
("  O  muto  asil  ").  Some  very  vivid  storm-music 


224      THE  STANDARD  OPERAS. 

preluding  the  last  scene,  and  the  final  hymn  of  free- 
dom ("  I  boschi,  i  monti ")  close  an  opera  which  is 
unquestionably  Rossini's  masterpiece,  and  in  which 
his  musical  ability  reached  its  highest  expression. 
"  Manly,  earnest,  and  mighty,"  Hanslick  calls  it ; 
and  the  same  authority  claims  that  the  first  and  sec- 
ond acts  belong  to  the  most  beautiful  achievements 
of  the  modern  opera. 


RUBINSTEIN. 

INTON  GREGOR  RUBINSTEIN  was 
born  Nov.  30,  1829,  at  Weghwotynez 
in  Russia.  His  mother  gave  him  lessons 
at  the  age  of  four,  with  the  result  that 
by  the  time  he  was  six  she  was  unable  to  teach 
him  anything  more.  He  then  studied  the  piano 
with  Alexander  Villoing,  a  pupil  of  John  Field.  In 
1840  he  entered  the  Paris  Conservatory,  where  he 
attracted  the  attention  of  Liszt,  Chopin,  and  Thai- 
berg.  He  remained  in  that  city  eighteen  months, 
and  then  made  some  professional  tours,  in  which  he 
met  with  extraordinary  success.  In  1844  his  par- 
ents removed  to  Berlin,  and  he  was  placed  under 
Dehn,  the  famous  contrapuntist,  to  study  compo- 
sition. From  1846  to  1848  he  taught  music  in 
Pressburg  and  Vienna,  and  then  went  back  to  Russia. 
For  eight  years  he  studied  and  wrote  in  St.  Peters- 
burg, and  at  the  end  of  that  time  had  accumulated 
a  mass  of  manuscripts  destined  to  make  his  name 
famous  all  over  Europe,  while  his  reputation  as  a 
skilful  pianist  was  already  world-wide.  He  visited 
15 


226  THE  STANDARD   OPERAS. 

England  again  in  1857,  and  the  next  year  returned 
home  and  settled  in  St.  Petersburg,  about  which 
time  he  was  made  Imperial  Concert  Director,  with 
a  life-pension.  At  this  period  in  his  career  he  de- 
voted himself  to  the  cause  of  music  in  Russia.  His 
first  great  work  was  the  foundation  of  the  Conser- 
vatory in  the  above  city  in  1862,  of  which  he  re- 
mained principal  until  1867.  He  also  founded  the 
Russian  Musical  Society  in  1861,  and  in  1869  was 
decorated  by  the  Czar.  In  1870  he  directed  the 
Philharmonic  and  Choral  Societies  of  Vienna,  and 
shortly  afterwards  made  another  tour,  during  which, 
in  1872,  he  came  to  this  country  with  the  eminent 
violinist,  Wieniawsky,  as  will  be  well  remembered. 
His  greatest  works  are  the  "  Ocean  Symphony," 
"  Dramatic  Symphony,"  and  a  character  sketch  for 
grand  orchestra  called  "  Ivan  the  Terrible ; "  his 
operas,  "Children  of  the  Heath,"  "Feramors," 
"Nero,"  "The  Maccabees,"  "  Dimitri  Donskoi," 
and  the  "  Demon ;  "  the  oratorios  "  Paradise  Lost," 
and  "  Tower  of  Babel,"  and  a  long  and  splendid  cata- 
logue of  chamber,  salon,  and  concert  music,  besides 
some  beautiful  songs,  which  are  great  favorites  in 
the  concert-room. 

Jlero. 

The  opera  of  "Nero,"  the  libretto  by  Jules 
Barbier,  was  first  produced  in  Hamburg  in  1879, — 
though  it  was  originally  intended  for  the  French 
stage,  —  and  in  this  country,  March  14,  1887,  at 


NERO.  227 

New  York,  by  the  American  Opera  Company,  under 
the  direction  of  Mr.  Theodore  Thomas,  with  the 
following  cast :  — 

NERO Mr.  CANDIDUS. 

JULIUS  VINDEX Mr.  LUDWIG. 

TIGELLINUS Mr.  STODDARD. 

BALBILLUS .  Mr.  WHITNEY. 

SACCUS Mr.  FESSENDEN. 

SEVIRUS .  Mr.  HAMILTON. 

TERPANDER Mr.  LEE. 

POPPCEA  SAHINA Miss  BERTHA  PIERSON. 

EPICHARIS Miss  CORNELIA  VAN  ZANTEN. 

CHRYSA Miss  EMMA  JUCH. 

AGRIPPINA Miss  AGNES  STERLING. 

LUPUS Miss  PAULINE  L'ALLEMAND. 

The  first  act  opens  in  the  house  of  Epicharis,  a 
courtesan,  which  is  a  rendezvous  for  the  dissolute 
Roman  nobles.  The  guests  assembled  sing  a  chorus 
in  praise  of  the  establishment,  followed  by  a  scene 
in  which  Vindex,  the  prince  of  Aquitania,  Saccus 
the  poet,  Terpander  the  citharist,  and  others  con- 
spire against  Nero=  Suddenly  Chrysa,  daughter  of 
Epicharis,  who  is  ignorant  of  her  mother's  real 
character  and  dwells  apart  from  her,  rushes  in  and 
implores  the  protection  of  Vindex  from  a  crowd  of 
revellers  who  have  pursued  her.  A  very  spirited 
duet  follows  in  which  the  prince  promises  her  his 
assistance.  Upon  hearing  the  shouts  of  her  pur- 
suers he  conceals  her  just  in  time  to  escape  the 
masked  band,  headed  by  Nero  himself,  which  bursts 
into  the  apartment.  The  tyrant  demands  the  girl ; 
and  as  he  throws  off  his  mask  the  guests  stand 


228  THE   STANDARD   OPERAS. 

amazed.  Saccus  at  last  breaks  the  spell  by  the  sug- 
gestion that  Nero  shall  marry  the  girl.  When  she 
is  led  out,  and  Vindex  discovers  that  Epicharis  is 
her  mother,  he  no  longer  espouses  her  cause.  Then 
follows  the  music  of  the  mock  marriage,  interspersed 
with  dance  strains  and  sardonic  choruses  by  the 
courtesans  and  their  associates,  at  last  rising  to  a 
wild  bacchanalian  frenzy,  in  the  midst  of  which 
Vindex  breaks  out  in  a  spirited  song,  with  harp  ac- 
companiment, and  finally  hurls  invectives  at  Nero, 
as  Chrysa,  who  has  drunk  a  narcotic  at  her  mother's 
order,  falls  senseless.  The  latter  declares  she  has 
been  poisoned,  and  the  act  closes  with  a  scene  of 
great  power  in  which  Vindex  is  hurried  away  as 
Nero's  prisoner. 

The  second  act  opens  in  the  dwelling  of  Poppcea, 
Nero's  mistress,  whose  attendants  are  trying  to  con- 
sole her.  She  has  heard  of  Nero's  new  infatuation  ; 
but  her  apprehensions  are  relieved  when  Balbillus, 
the  astrologer,  enters  and  not  only  announces  that 
Chrysa  is  dead,  but  tells  the  equally  grateful  news 
that  Octavia,  Nero's  wife,  has  been  condemned  to 
die.  Nero  himself  now  appears  upon  the  scene,  and 
a  duet  follows  in  which  Poppcea  reproaches  him  for 
his  fickleness  and  he  seeks  to  console  her  with 
flattery.  At  its  close  the  death  of  Octavia  is  an- 
nounced, and  Poppcea  is  appeased  by  the  prospect 
of  sharing  the  throne.  Meanwhile  Chrysa  has 
fallen  into  the  custody  of  Agrippina,  Nero's  mother, 
who  keeps  close  charge  of  her  to  further  her  own 
ambitions.  During  the  interview  between  the  tyrant 


NERO.  229 

and  his  mistress,  Epicharis  rushes  in  and  implores 
Nero  to  give  up  Chrysa,  which  leads  to  a  powerful 
ensemble.  Learning  that  Chrysa  is  still  alive  he 
leaves  the  apartment  to  find  her.  The  second  scene 
is  brilliantly  spectacular.  Nero  and  his  mother  ap- 
pear in  front  of  the  temple,  followed  by  a  long  pro- 
cession to  the  music  of  a  brilliant  march.  They 
enter  the  temple.  After  a  short  episode,  in  which 
Poppcea  informs  Epicharis  of  the  refuge  Chrysa  has 
found,  the  ballet  is  given  in  the  open  square,  with  its 
fascinating  dances  of  warriors,  bacchantes,  jugglers 
and  buffoons,  and  their  mimic  combats,  the  music 
of  which  is  very  familiar  from  its  frequent  perform- 
ance in  our  concert-rooms.  Nero  then  appears  and 
announces  his  divinity  in  a  finale,  which  is  rich  with 
scenic,  spectacular,  and  choral  effects,  accompanied 
by  full  military  band  and  orchestra. 

The  third  act  opens  in  Chrysa's  new  asylum  of 
refuge.  The  persecuted  girl  sings  a  beautiful  prayer, 
at  the  close  of  which  Vindex  joins  her  in  a  love- 
duet,  which  will  always  remain  as  one  of  the  most 
refined  and  noble  products  of  Rubinstein's  skill  in 
harmony.  The  next  number  is  one  of  almost  equal 
beauty, — a  duet  for  Chrysa  and  Epicharis,  the  motive 
of  which  is  a  cradle  song.  Its  soothing  tones  are 
interrupted  by  the  appearance  of  Nero,  followed  by 
Popposa  and  Saccus,  the  last-named  announcing  to 
the  tyrant  that  Rome  is  in  flames,  which  leads  up  to 
a  vigorous  trio.  The  concluding  scene  is  full  of 
characteristic  music.  It  shows  us  Nero  watching 
the  fire  from  his  tower,  while  he  sings  a  hymn  ("  O 


230  THE  STANDARD   OPERAS. 

Ilion  ")  to  the  accompaniment  of  his  lyre  ;  the  death 
of  Chrysa,  who  proclaims  herself  a  Christian  and  is 
killed  by  the  infuriated  populace  ;  and  the  fate  of 
Epicharis,  who  is  crushed  beneath  a  falling  house  as 
she  mourns  for  her  daughter. 

The  fourth  act  furnishes  a  dramatic  denouement  to 
the  mournful  story.  The  tyrant,  wild  with  rage  and 
frenzy,  appears  in  the  tomb  of  Augustus,  where  the 
shades  of  his  murdered  victims  terrify  him.  Saccus 
enters  and  tells  him  of  the  revolt  of  his  army  and 
the  danger  which  threatens  him.  He  rushes  out 
again  and  kills  himself  on  the  highway  of  the  Cam- 
pagna,  just  as  Vindex  at  the  head  of  his  legions 
comes  up  with  him.  As  he  expires  a  cross  appears 
in  the  sky  and  a  chant  is  heard,  herald  of  the 
coming  Christianity. 


THOMAS. 


iHARLES  AMBROISE  THOMAS  was 
born  at  Metz,  Aug.  5,  1811,  and  en- 
tered the  Paris  Conservatory  in  1828, 
where  he  carried  off  the  Grand  Prize  in 
1832,  which  entitled  him  to  go  to  Italy.  During  his 
Italian  residence  he  wrote  a  cantata,  "  Hermann  und 
Ketty,"  and  several  instrumental  works.  His  first 
work  at  the  Opera  Comique  was  the  one-act  opera, 
"La  double  echelle,"  produced  in  1837  with  suc- 
cess. He  then  brought  out  several  ballets  at  the 
Academic,  but  returned  to  the  Opera  Comique 
again,  where,  between  1840  and  1866,  he  com- 
posed thirteen  operas,  the  most  successful  of  which 
were  "  Le  Songe  d'une  nuit  d'et6  "  (1850),  "Ray- 
mond" (1851),  "Psyche"  (1857),  and  "  Mignon  " 
(1866).  During  this  period  he  also  wrote  a  large 
number  of  cantatas,  choruses,  part-songs,  and  in- 
strumental works.  His  next  great  work  was  "  Ham- 
let," first  produced  March  9,  1868,  the  success  of 
which  gained  him  the  position  of  Director  of  the 


232  THE    STANDARD    OPERAS. 

Conservatory  in  1871.  Since  that  time  he  has 
written  only  the  opera  "  Fran£oise  de  Rimini,"  per- 
formed April  14,  1882.  In  1880  he  was  made  a 
member  of  the  Legion  of  Honor.  In  common  with 
Gounod  he  now  shares  the  honor  of  being  one  of 
the  few  French  writers  who  hold  a  high  rank  among 
modern  composers. 


JEignon. 

"  Mignon,"  an  opera  comique  in  three  acts, 
words  by  Barbier  and  Carre,  the  subject  taken 
from  Goethe's  "  Wilhelm  Meister,"  was  first  pro- 
duced at  the  Opera  Comique,  Paris,  Nov.  17,  1866, 
with  the  following  cast :  — 

MIGNON Mme.  GALLI-MARIE. 

WILHELM  MEISTER M.  ACHARD. 

LAERTES M.  CONDERS. 

LOTARIO M.  BATAILLE. 

FILINA Mme.  CABEL. 

The  scene  of  the  first  two  acts  is  laid  in  Germany, 
and  of  the  third  in  Italy.  Mignon,  the  heroine,  in 
her  childhood  was  stolen  by  gypsies.  She  is  of  noble 
birth.  The  mother  died  shortly  after  her  bereave- 
ment, and  the  father,  disguised  as  the  harper  Lota- 
rio,  has  wandered  for  years  in  quest  of  his  daughter. 
The  opera  opens  in  the  yard  of  a  German  inn,  where 
a  troupe  of  actors,  among  them  Filina  and  Laertes, 
are  resting,  on  their  way  to  the  castle  of  a  neighbor- 
ing prince,  where  they  are  to  give  a  performance. 


MfGNON.  233 

A  strolling  gypsy  band  arrives  about  the  same  time, 
and  stops  to  give  an  entertainment  to  the  guests. 
Mignon,  who  is  with  the  band,  is  ordered  to  per- 
form the  egg  dance,  but,  worn  out  with  fatigue 
and  abusive  treatment,  refuses.  Giarno,  the  leader, 
rushes  at  her,  but  the  old  harper  interposes  in  her 
behalf.  Giarno  then  turns  upon  Lotario,  when  the 
wandering  student,  Wilhelm  Meister,  suddenly  ap- 
pears and  rescues  both  Mignon  and  the  harper.  To 
save  her  from  any  further  persecution  he  engages 
her  as  his  page,  and  follows  on  in  the  suite  of  Filina, 
for  whom  he  conceives  a  violent  and  sudden  pas- 
sion. Touched  by  his  kind  attentions  to  her,  Mig- 
non falls  in  love  with  Wilhelm,  who,  ignorant  of  his 
page's  affection,  becomes  more  and  more  a  prey  to 
the  fascinations  of  Filina.  At  last  the  troupe  ar- 
rives at  the  castle,  Wilhelm  and  Mignon  with  them. 
Wilhelm  enters  with  the  others,  leaving  Mignon  to 
await  him  outside.  Maddened  with  jealousy,  she 
attempts  to  throw  herself  into  a  lake  near  by,  but 
is  restrained  by  the  notes  of  Lotario's  harp.  She 
rushes  to  him  for  counsel  and  protection,  and  in  her 
despair  invokes  vengeance  upon  all  in  the  castle. 
As  the  entertainment  closes,  Filina  and  her  troupe 
emerge,  joyful  over  their  great  success.  She  sends 
Mignon  back  for  some  flowers  she  has  left,  when 
suddenly  flames  appear  in  the  windows.  Maddened 
by  his  own  grief  and  Mignon's  troubles  Lotario  has 
fired  the  castle.  Wilhelm  rushes  into  the  burning 
building  and  brings  out  the  unconscious  Mignon  in 
his  arms. 


234 


THE    STANDARD    OPERAS. 


The  last  act  opens  in  Lotario's  home  in  Italy, 
whither  Mignon  has  been  taken,  followed  by  Wil- 
helm,  who  has  discovered  her  devoted  attachment 
to  him,  and  has  freed  himself  from  the  fascinations 
of  Filina.  Through  the  medium  of  a  long-concealed 
casket  containing  a  girdle  which  Mignon  had  worn 
in  her  childhood,  also  by  a  prayer  which  she  re- 
peats, and  the  picture  of  her  mother,  Lotaric  is  at 
last  convinced  that  she  is  his  daughter,  and  gives 
his  blessing  to  her  union  with  Wilhelm. 

The  overture  recites  the  leading  motives  of  the 
work.  The  first  act  opens  with  a  fresh  and  melo- 
dious chorus  of  the  townspeople  over  their  beer  in 
the  inn  yard  ("Su  borghesi  e  magnati  ").  During 
their  singing  a  characteristic  march  is  heard,  and 
the  gypsy  band  enters.  The  scene  is  a  charming 
one,  the  little  ballet  being  made  still  more  pictu- 
resque by  the  fresh  chorus  and  a  song  of  Filina's 
in  waltz  time.  The  scene  of  the  encounter  with 
Giarno  and  Mignon's  rescue  follows,  and  leads  up 
to  a  very  spirited  quintet,  which  is  followed  by  a 
graceful  trio  between  Wilhelm,  Filina,  and  Laertes, 
the  actor.  In  the  next  scene  Wilhelm  questions 
Mignon  as  to  her  history,  and  at  the  end  of  their 
pathetic  duet,  when  he  says,  "  Were  I  to  break  thy 
chains  and  set  thee  free,  to  what  beloved  spot 
wouldst  thou  take  thy  way?"  she  replies  in  the 
beautiful  romanza,  "  Non  conosci  il  bel  suol," 
more  familiarly  known  in  Goethe's  own  words, 
"  Kennst  du  das  Land,"  —  a  song  full  of  tender 
beauty  and  rare  expression,  and  one  of  the  most 


MIGNON:  235 

delightful  inspirations  of  any  composer.  It  is  said 
that  much  of  its  charm  comes  from  the  composer's 
study  of  Ary  Scheffer's  picture  of  Mignon.  Be  this 
as  it  may,  he  has  caught  the  inner  sense  of  the 
poem,  and  expressed  it  in  exquisite  tones.  It  is 
followed  almost  immediately  by  a  duet  between 
Mignon  and  Lotario  ("  Leggiadre  rondinelle  ")  of 
almost  equal  beauty,  known  as  the  Swallow  duet. 
After  a  somewhat  uninteresting  scene  between  La- 
ertes, Filina,  and  Frederick,  who  is  also  in  love 
with  Filina,  the  finale  begins  with  the  departure  of 
the  actors  to  fulfil  their  engagement,  in  which  Filina, 
in  a  graceful  aria  ("  Grazie  al  gentil  signer  "),  invites 
Wilhelm  to  be  of  the  number. 

The  second  act  opens  in  Filina's  boudoir,  where 
she  is  at  her  toilet,  arraying  herself  for  her  part 
as  Titania  in  the  forthcoming  performance  of  the 
"  Midsummer  Night's  Dream  "  at  the  castle.  As 
Wilhelm  and  Mignon  enter  the  apartment,  a  very 
dramatic  conversation  ensues  between  them  in  the 
form  of  a  terzetto  ("  Ohim£  quell'  acre  riso "). 
Mignon  is  in  despair  at  the  attention  Wilhelm  pays 
Filina,  and  the  latter  adds  to  her  pangs  by  sing- 
ing with  him  a  gay  coquettish  aria  ("  Gai  compli- 
menti ").  As  they  leave  the  room  Mignon  goes  to 
the  mirror  and  begins  adorning  herself  as  Filina 
had  done,  hoping  thereby  to  attract  Wilhelm,  sing- 
ing meanwhile  a  characteristic  song  ("  Conosco 
un  zingarello  ")  with  a  peculiar  refrain,  which  the 
composer  himself  calls  the  "  Styrienne."  It  is  one 
of  the  most  popular  numbers  in  the  opera,  and 


236  THE    STANDARD    OPERAS. 

when  first  sung  in  Paris  made  a  furor.  At  the  end 
of  the  scene  Mignon  goes  into  a  cabinet  to  procure 
one  of  Filina's  dresses,  and  the  lovelorn  Frederick 
enters  and  sings  his  only  number  in  the  opera,  a 
bewitching  rondo  gavotte  ("  Filina  nelle  sale"). 
Wilhelvn  enters,  and  a  quarrel  between  the  jealous 
pair  is  prevented  by  the  sudden  appearance  of 
Mignon  in  Filina's  finery.  She  rushes  between 
them,  Frederick  makes  his  exit  in  a  fume,  and 
Wilhelm  announces  to  Mignon  his  intention  to 
leave  her,  in  the  aria,  "Addio,  Mignon,  fa  core," 
one  of  the  most  pathetic  songs  in  the  modern  opera. 
In  the  next  scene  she  tears  off  her  finery  and  rushes 
out  expressing  her  hatred  of  Filina.  The  scene  now 
changes  to  the  park  surrounding  the  castle  where 
the  entertainment  is  going  on.  Mignon  hears  the 
laughter  and  clapping  of  hands,  and  overcome  with 
despair  attempts  to  throw  herself  into  the  lake,  but 
is  restrained  by  Lotario,  and  a  beauiful  duet  ensues 
between  them  ("  Sofferto  hai  tu?").  In  the  next 
scene  Filina,  the  actors,  and  their  train  of  followers 
emerge  from  the  castle,  and  in  the  midst  of  their  joy 
she  sings  the  polacca,  "  Ah  !  per  stassera,"  which 
is  a  perfect  feu  de  joie  of  sparkling  music,  closing 
with  a  brilliant  cadenza.  The  finale,  which  is  very 
dramatic,  describes  the  burning  of  the  castle  and  the 
rescue  of  Mignon. 

The  last  act  is  more  dramatic  than  musical, 
though  it  contains  a  few  delightful  numbers,  among 
them  the  chorus  barcarole  in  the  first  scene,  "  Orsu, 
sciogliam  le  vela,"  a  song  by  Wilhelm  ("  Ah  !  non 


MIGNON. 


237 


credea"),  and  the  love  duet,  "Ah!  son  felice," 
between  VVilhelm  and  Mignon,  in  which  is  heard 
again  the  cadenza  of  Filina's  polacca.  "  Mignon  " 
has  always  been  a  success,  and  will  unquestionably 
always  keep  its  place  on  the  stage,  —  longer  even  than 
the  composer's  more  ambitious  works,  "  Hamlet " 
and  "  Francoise  de  Rimini,"  by  virtue  of  its  pictu- 
resqueness  and  poetic  grace,  as  well  as  by  the  fresh- 
ness, warmth,  and  richness  of  its  melodies.  In  this 
country  opera-goers  will  long  remember  "  Mignon  " 
by  the  great  successes  made  by  Miss  Kellogg  as 
Filina,  and  by  Mme.  Lucca  and  Mme.  Nilsson  in 
the  title-role. 


VERDI. 

flUSEPPE  VERDI  was  born  at  Roncale, 
Italy,  Oct.  9,  1813.  He  displayed  his 
musical  talent  at  a  very  early  age  ;  indeed, 
in  his  tenth  year  he  was  appointed  organist 
in  his  native  town.  He  then  studied  for  a  time  at 
Busseto,  and  afterwards,  by  the  help  of  a  patron, 
M.  Barezzi,  went  to  Milan.  Curiously  enough  he 
was  refused  a  scholarship  on  the  ground  that  he  dis- 
played no  aptitude  for  music.  Nothing  daunted, 
he  studied  privately  with  the  composer  Lavigne, 
and  five  years  afterwards  commenced  his  career 
as  an  operatic  writer.  His  first  opera,  "  Oberto," 
was  given  at  La  Scala,  Milan,  with  indifferent  suc- 
cess. He  was  not  fairly  recognized  until  his  opera 
"  I  Lombardi  "  was  performed.  In  1844  "  Ernani  " 
was  received  with  great  enthusiasm.  "  Attila " 
(1846)  was  his  next  great  triumph;  and  then  fol- 
lowed in  rapid  succession  a  large  number  of  operas, 
among  them:  "I  Masnadieri "  (1847),  written  for 
the  English  stage,  with  Jenny  Lincl,  Lablache,  and 


ERNANL 


239 


Gardoni  in  the  cast;  "Luisa  Miller"  (1849); 
"Stifellio"  (1851);  "Rigoletto"  (1851);  "II 
Trovatore,"  Rome  (1853);  "La  Traviata,"  Venice 
(1853);  "I  Vespri  Sicilian!,"  Paris  (1855);  "Si- 
mon Boccanegra,"  Venice  (1857);  "Un  Ballo  in 
Maschera,"  Rome  (1858)  ;  "  La  Forza  del  Destine," 
St.  Petersburg  (1862)  ;  "  Don  Carlos,"  Paris  (1867) ; 
and  "Aida,"  his  last  opera,  Cairo  (1871).  Since 
that  time  Verdi  has  produced  nothing  but  a  Pater 
Noster  and  an  Ave  Maria  (1880),  and  the  "Re- 
quiem," composed  in  memory  of  the  patriot  Man- 
zoni,  and  produced  at  Milan  in  1874,  on  the  occasion 
of  the  anniversary  of  his  death.  It  has  been  re- 
ported that  he  is  at  work  upon  a  new  opera, 
"Othello,"  the  words  by  Arrigo  Boito,  the  com- 
poser of  "  Mephistopheles ;  "  but  nothing  more  than 
the  report  has  been  heard  from  it  during  the  past 
three  or  four  years.  The  great  melodist  now  spends 
a  very  quiet  life  as  a  country  gentleman  upon  his 
estates  near  Busseto. 


Cfonani. 

"  Ernani,"  a  tragic  opera  in  four  acts,  words  by 
F.  M.  Piave,  the  subject  taken  from  Victor  Hugo's 
tragedy  of  "  Hernani,"  was  first  produced  at  Venice, 
March  9,  1844.  The  earlier  performances  of  the 
opera  gave  the  composer  much  trouble.  Before 
the  first  production  the  police  interfered,  refusing 
to  allow  the  representation  of  a  conspiracy  on  the 


240  THE    STANDARD    OPERAS. 

stage,  so  that  many  parts  of  the  libretto,  as  well  as 
much  of  the  music,  had  to  be  changed.  The  blow- 
ing of  Don  Silva's  horn  in  the  last  act  was  also 
objected  to  by  one  Count  Mocenigo,  upon  the  sin- 
gular ground  that  it  was  disgraceful.  The  Count, 
however,  was  silenced  more  easily  than  the  police. 
The  chorus  "Siridesti  il  Leon  di  Castiglia "  also 
aroused  a  political  manifestation  by  the  Venetians. 
The  opera  was  given  in  Paris,  Jan.  6,  1846,  and 
there  it  encountered  the  hostility  of  Victor  Hugo, 
who  demanded  that  the  libretto  should  be  changed. 
To  accommodate  the  irate  poet,  the  words  were 
altered,  the  characters  were  changed  to  Italians, 
and  the  new  title  of  "  II  Proscritto  "  was  given 
to  the  work. 

The  action  of  the  opera  takes  place  in  Arragon, 
Spain,  and  the  period  is  1519.  Elvira,  a  noble 
Spanish  lady,  betrothed  to  the  grandee  Don  Gomez 
de  Silva,  is  in  love  with  the  bandit  Ernani,  who 
forms  a  plan  to  carry  her  off.  While  receiving  the 
congratulations  of  her  friends  upon  her  approach- 
ing marriage  with  Silva,  Don  Carlos,  the  King  of 
Spain,  enters  her  apartment,  declares  his  passion  for 
her,  and  tries  to.  force  her  from  the  castle.  She 
cries  for  help,  and  Ernani  comes  to  her  rescue  and 
defies  the  king.  The  situation  is  still  further  com- 
plicated by  the  sudden  arrival  of  Silva,  who  declares 
he  will  avenge  the  insult.  Finding,  however,  that 
it  is  the  King  whom  he  has  challenged,  he  sues  for 
pardon.  In  the  second  act,  as  the  nuptials  are 
about  to  be  solemnized,  Ernani  enters,  disguised  as 


ERNANI. 


241 


a  pilgrim,  and  believing  Elvira  false  to  him,  throws 
off  his  disguise  and  demands  to  be  given  up  to  the 
King,  which  Silva  refuses,  as  he  cannot  betray  a 
guest.  Discovering,  however,  that  Elvira  and  Er- 
nani  are  attached  to  each  other,  he  determines  on 
vengeance.  The  King  eventually  carries  off  Elvira 
as  a  hostage  of  the  faith  of  Silva,  whereupon  the 
latter  challenges  Ernani.  The  bandit  refuses  to 
fight  with  him,  informs  him  that  the  King  is  also  his 
rival,  and  asks  to  share  in  his  vengeance,  promising 
in  turn  to  give  up  his  life  when  Silva  calls  for  it,  and 
presenting  him  with  a  horn  which  he  is  to  sound 
whenever  he  wishes  to  have  the  promise  kept.  In 
the  third  act,  the  King,  aware  that  the  conspirators 
are  to  meet  in  the  catacombs  of  Aquisgrana,  con- 
ceals himself  there,  and  when  the  assassins  meet 
to  decide  who  shall  kill  him,  he  suddenly  appears 
among  them  and  condemns  the  nobles  to  be  sent 
to  the  block.  Ernani,  who  is  a  duke,  under  the 
ban  of  the  King  of  Castile,  demands  the  right  to 
join  them,  but  the  King  magnanimously  pardons 
the  conspirators  and  consents  to  the  union  of 
Ernani  and  Elvira.  Upon  the  very  eve  of  their 
happiness,  and  in  the  midst  of  their  festivities,  the 
fatal  horn  is  heard,  and  true  to  his  promise  Ernani 
parts  from  Elvira  and  kills  himself. 

The  first  act  opens  with  a  spirited  chorus  of 
banditti  and  mountaineers  ("  Allegri,  beviami ")  as 
they  are  drinking  and  gambling  in  their  mountain 
retreat.  Ernani  appears  upon  a  neighboring  height 
and  announces  himself  in  a  despondent  aria  ("  Come 
16 


242 


THE    STANDARD    OPERAS. 


rugiada  al  cespite  ").  A  brief  snatch  of  chorus 
intervenes,  when  he  breaks  out  in  a  second  and 
more  passionate  strain  ("  Dell'  esilio  nel  dolore  "), 
in  which  he  sings  of  his  love  for  Elvira.  The  third 
scene  opens  in  Elvira's  apartments,  and  is  intro- 
duced with  one  of  the  most  beautiful  of  Verdi's 
arias,  "Ernani,  involarni,"  with  which  all  concert- 
goers  have  become  acquainted  by  its  frequent  repe- 
tition. A  graceful  chorus  of  her  ladies  bearing  gifts 
leads  to  a  second  and  more  florid  number  ("  Tutto 
sprezzo  che  d'  Ernani  ").  Don  Carlos  enters,  and 
in  the  seventh  scene  has  an  aria  ("  Bella  come  un 
primo  amore ")  in  which  he  declares  his  passion 
for  Elvira,  leading  up  to  a  very  dramatic  duet  be- 
tween them  ("  Fiero  sangue  d'  Aragona  ").  This  is 
followed  in  turn  by  a  trio  between  the  two  and 
Ernani.  The  finale  commences  with  an  impressive 
and  sonorous  bass  solo  ("  Infelice  !  e  tuo  credevi ") 
by  Silva,  and  closes  with  a  septet  and  chorus  of 
great  power. 

The  second  act,  like  the  first,  opens  with  a  chorus, 
this  time,  however,  of  mixed  voices,  the  power  of 
which  is  amplified  by  a  military  band  on  the  stage. 
After  three  scenes  of  dramatic  dialogue,  an  impas- 
sioned duet  ("  Ah  !  morir  potessi  adesso  !  ")  occurs 
between  Ernani  and  Elvira,  followed  by  a  second, 
of  great  dramatic  intensity,  in  the  seventh  scene 
("  La  vendetta  piu  tremcnda  ").  The  finale  begins 
with  a  spirited  appeal  by  Silva  and  Ernani  for  ven- 
geance against  the  King  ("  In  arcione,  cavalieri  ") 
which  is  met  by  a  stirring  response  from  their  fol- 


ERNANT. 


243 


lowers  ("  Pronti  vedi  li  tuoi  cavalicri  "),  sung  by 
full  male  chorus  and  closing  the  act. 

The  third  act  is  devoted  to  the  conspiracy,  and 
in  the  second  scene  Don  Carlos  has  a  very  impres- 
sive and  at  times  thrilling  soliloquy  ("  Gran  Dio  ! 
costo  sui  sepolcrali  marmi  ").  The  conspiracy  then 
begins  with  very  characteristic  accompaniments, 
closing  with  the  chorus  in  full  harmony  ("  Si  ridesti 
il  Leon  di  Castiglia  "),  which  at  the  performance  of 
the  work  in  Venice  roused  such  a  fury  among  the 
Venetians.  The  finale  commences  with  the  appear- 
ance of  Don  Carlos  among  the  conspirators,  and 
closes  with  the  great  sextet  and  chorus,  "  O  Sommo 
Carlo."  Opening  with  a  barytone  solo,  it  is  grad- 
ually worked  up  in  a  crescendo  of  great  power  and 
thrilling  effect.  The  number  is  very  familiar  from 
its  English  setting  under  the  title,  "  Crowned  with 
the  Tempest." 

The  fourth  act  rapidly  hurries  to  the  tragic  close, 
and  is  less  interesting  from  a  musical  point  of  view, 
as  the  climax  was  reached  in  the  finale  of  the  third. 
The  principal  numbers  are  the  chorus  of  masks  in 
the  first  scene  ("  O  come  felici "),  accompanied  by 
military  band,  and  the  great  duet  between  Elvira 
and  Ernani  ("  Cessaro  i  suoni  "),  which  passes  from 
rapturous  ecstasy  to  the  despair  of  fate  ("  Per  noi  d' 
amore  il  talamo  ")  as  the  horn  of  Silva  is  heard,  re- 
minding Ernani  of  his  promise.  Though  one  of  the 
earliest  of  Verdi's  works,  "  Ernani  "  is  one  of  his 
strongest  in  dramatic  intensity,  in  the  brilliancy  and 
power  of  its  concerted  finales,  and  in  the  beauty  of 
its  great  chorus  effects. 


244  THE    STANDARD    OPERAS. 


Iligoletto. 

"  Rigoletto,"  an  opera  in  three  acts,  words  by 
Piave,  the  subject  taken  from  Victor  Hugo's  tragedy, 
"  Le  Roi  s'amuse,"  was  first  produced  at  Venice, 
March  n,  1851.  The  part  of  Gilda  has  always 
been  a  favorite  one  with  great  artists,  among  whom 
Nantier-Didie"e,  Bosio,  and  Miolan-Carvalho  played 
the  role  with  extraordinary  success.  In  the  London 
season  of  1860  Mario  and  Ronconi  in  the  respec- 
tive parts  of  the  Duke  and  Rigoletto,  it  is  said,  gave 
dramatic  portraitures  which  were  among  the  most 
consummate  achievements  of  the  lyric  stage.  The 
records  of  its  first  production,  like  those  of  "  Er- 
nani,"  are  of  unusual  interest.  Verdi  himself  sug- 
gested Victor  Hugo's  tragedy  to  Piave  for  a  libretto, 
and  he  soon  prepared  one,  changing  the  original 
title,  however,  to  "  La  Maledizione."  Warned  by 
the  political  events  of  1848,  the  police  flatly  refused 
to  allow  the  representation  of  a  king  on  the  stage 
in  such  situations  as  those  given  to  Francis  I.  in  the 
original  tragedy.  The  composer  and  the  manager  of 
the  theatre  begged  in  vain  that  the  libretto  should 
be  accepted,  but  the  authorities  were  obstinate. 
At  last  a  way  was  found  out  of  the  difficulty  by  the 
chief  of  police  himself,  who  was  a  great  lover  of 
art.  He  suggested  to  the  librettist  that  the  King 
should  be  changed  to  a  duke  of  Mantua,  and  the 
title  of  the  work  to  "  Rigoletto,"  the  name  of  the 
buffoon  who  figures  in  the  place  of  the  original 


KIGOLETTO. 


245 


Triboulet.  Verdi  accepted  the  alterations,  and  had 
an  opera  ready  in  forty  days  which  by  nearly  all 
critics  is  considered  his  musical  masterpiece,  not- 
withstanding the  revolting  character  of  the  story. 

The  scene  of  the  opera  is  laid  in  Mantua.  Rigo- 
letto,  the  privileged  buffoon  of  the  Duke,  who  also 
plays  the  part  of  pander  in  all  his  licentious 
schemes,  among  numerous  other  misdeeds  has 
assisted  his  master  in  the  seduction  of  the  wife  of 
Count  Ceprano  and  the  daughter  of  Count  Monte- 
rone.  The  latter  appears  before  the  Duke  and 
Rigoletto,  and  demands  reparation  for  the  dishonor 
put  upon  his  house,  only  to  find  himself  arrested 
by  order  of  the  Duke,  and  taunted  in  the  most 
insolent  manner  by  the  buffoon,  upon  whom  he 
invokes  the  vengeance  of  Heaven.  Even  the 
courtiers  themselves  are  enraged  at  Rigoletto's 
taunts,  and  determine  to  assist  in  Monterone's  re- 
venge by  stealing  Gilda,  the  jester's  daughter, 
whom  they  suppose  to  be  his  mistress.  Closely 
as  she  had  been  concealed,  she  had  not  escaped 
the  observation  of  the  Duke,  who  in  the  guise  of  a 
poor  student  wins  her  affections  and  discovers  her 
dwelling-place.  Pretending  that  it  is  Count  Ce- 
prano's  wife  whom  they  are  about  to  abduct,  they 
even  make  Rigoletto  assist  in  the  plot  and  help 
convey  his  own  daughter  to  the  Duke's  apartments. 
In  his  blind  fury  when  he  discovers  the  trick  that 
has  been  played  upon  him,  he  hires  Sparafucile,  a 
professional  assassin,  to  kill  the  Duke.  The  bravo 
allures  the  Duke  to  his  house,  intending  to  carry  out 


246      THE  STANDARD  OPERAS. 

his  agreement ;  but  his  sister,  Magdalena,  is  so  fas- 
cinated with  the  handsome  stranger,  that  she  deter- 
mines to  save  him.  Sparafucile  at  first  will  not 
listen  to  her,  but  finally  promises  if  any  one  else 
comes  to  the  house  before  the  time  agreed  upon  for 
the  murder  he  shall  be  the  victim.  Rigoletto  mean- 
while disguises  his  daughter  in  male  attire  in  order 
that  she  may  escape  to  Verona ;  but  before  she  sets 
out  he  takes  her  to  the  vicinity  of  Sparafucile's 
house,  that  she  may  witness  the  perfidy  of  the  Duke. 
While  outside,  she  overhears  the  quarrel  between 
Sparafucile  and  Magdalena,  and  learns  his  intention 
to  murder  the  Duke,  who  is  even  then  sleeping  in 
the  house.  With  a  woman's  devotion  she  springs 
forward  to  save  the  Duke's  life,  knocks  at  the  door, 
and  demands  admittance.  Sparafucile  opens  it,  and 
as  she  enters  stabs  her.  He  then  thrusts  her  body 
into  a  sack,  and  delivers  it  to  her  father  as  the  body 
of  the  man  whom  he  had  agreed  to  slay.  Rigo- 
letto, gloating  over  his  revenge,  is  about  to  throw 
the  sack  into  the  river  near  by,  when  he  suddenly 
hears  the  voice  of  the  Duke.  He  tears  open  the 
sack  to  see  whose  body  it  contains,  and  by  the 
glare  of  the  lightning  is  horrified  to  find  that  it  is 
his  own  daughter,  and  realizes  that  the  malediction 
of  Monterone  has  been  accomplished.  She  expires 
in  his  arms,  blessing  her  lover  and  father,  while  he 
sinks  to  the  ground  overwhelmed  with  the  fulfilment 
of  the  terrible  curse. 

The  first  act  opens  in  the  ball-room  of  the  ducal 
palace.     After  a  brief  dialogue  between  the  Duke 


RIGOLETTO. 


247 


and  one  of  his  courtiers,  the  former  vaunts  his  own 
fickleness  in  one  of  the  most  graceful  and  charm- 
ing arias  in  the  whole  opera  ("  Questa  o  quella  "). 
Some  spirited  dramatic  scenes  follow,  which  intro- 
duce the  malediction  of  Monterone  and  the  com- 
pact between  Rigoletto  and  Sparafucile,  and  lead 
up  to  a  scena  of  great  power  ("  lo  la  lingua,  egli  ha 
il  pugnali  "),  in  which  the  buffoon  vents  his  furious 
rage  against  the  courtiers.  A  tender  duet  between 
Rigoletto  and  Gilda  follows,  and  a  second  duet 
in  the  next  scene  between  Gilda  and  the  Duke 
("  Addio,  speranza  ed  anima  "),  which  for  natural 
grace,  passionate  intensity,  and  fervid  expression 
is  one  of  Verdi's  finest  numbers.  As  the  Duke 
leaves,  Gilda,  following  him  with  her  eyes,  breaks 
out  in  the  passionate  love-song,  "Caro  nome," 
which  is  not  alone  remarkable  for  its  delicacy  and 
richness  of  melody,  but  also  for  the  brilliancy  of  its 
bravura,  calling  for  rare  range  and  flexibility  of 
voice.  The  act  closes  with  the  abduction,  and 
gives  an  opportunity  for  a  delightful  male  chorus 
("Zitti,  zitti")  sung  pianissimo. 

The  second  act  also  opens  in  the  palace,  with  an 
aria  by  the  Duke  ("  Parmi  veder  le  lagrime"),  in 
which  he  laments  the  loss  of  Gilda.  Another  fine 
chorus  ("  Scorrendo  uniti  remota  via  ")  follows,  from 
which  he  learns  that  Gilda  is  already  in  the  palace. 
In  the  fourth  scene  Rigoletto  has  another  grand 
scena  ("Cortigiani  vil  razza  dannata"),  which  is 
intensely  dramatic,  expressing  in  its  musical  alter- 
nations the  whole  gamut  of  emotions,  from  the  fury 


248  THE    STANDARD    OPERAS. 

of  despair  to  the  most  exquisite  tenderness  of 
appeal  as  he  pleads  with  the  courtiers  to  tell  him 
where  his  daughter  is.  In  the  next  scene  he  dis- 
covers her,  and  the  act  closes  with  a  duet  between 
them  ("  Tutte  le  feste  al  tempio  "),  which,  after  a 
strain  of  most  impassioned  tenderness,  is  interrupted 
by  the  passage  of  the  guards  conveying  Monterone 
to  prison,  and  then  closes  with  a  furious  outburst  of 
passion  from  Rigoletto.  With  the  exception  of  two 
numbers,  the  last  act  depends  for  its  effect  upon 
the  dramatic  situations  and  the  great  power  of  the 
the  terrible  denouement ;  but  these  two  numbers  are 
among  the  finest  Verdi  has  ever  given  to  the  world. 
The  first  is  the  tenor  solo  sung  in  Sparafucile's 
house  in  the  second  scene  by  the  Duke,  — "  La 
donna  e  mobile,"  an  aria  of  extreme  elegance  and 
graceful  abandon,  which  is  heard  again  in  the  last 
scene,  its  lightly  tripping  measures  contrasting 
strangely  with  the  savage  glee  of  Rigoletto,  so  soon 
to  change  to  wails  of  despair  as  he  realizes  the  full 
force  of  the  malediction.  The  second  is  the  great 
quartet  in  the  third  scene  between  the  Duke,  Gilda, 
Magdalena,  and  Rigoletto  ("Bella  figlia  dell' 
amore"),  which  stands  out  as  an  inspiration  in 
comparison  with  the  rest  of  the  opera,  fine  as  its 
music  is.  The  story  itself  is  almost  too  repulsive 
for  stage  representation ;  but  in  beauty,  freshness, 
originality,  and  dramatic  expression  the  music  of 
"  Rigoletto  "  is  Verdi's  best ;  and  in  all  this  music 
the  quartet  is  the  masterpiece. 


LA    TRAVIATA.  349 


"  La  Traviata,"  an  opera  in  three  acts,  words  by 
Piave,  is  founded  upon  Dumas's  "  Dame  aux  Ca- 
melias,"  familiar  to  the  English  stage  as  "  Camille." 
The  original  play  is  supposed  to  represent  phases 
of  modern  French  life;  but  the  Italian  libretto 
changes  the  period  to  the  year  1 700,  in  the  days  of 
Louis  XIV. ;  and  there  are  also  some  material 
changes  of  characters,  —  Marguerite  Gauthier  of 
the  original  appearing  as  Violetta  Valery,  and 
Olympia  as  Flora  Belvoix,  at  whose  house  the  ball 
scene  takes  place.  The  opera  was  first  produced 
at  Venice,  March  6,  1853,  with  the  following  cast 
of  the  principal  parts  :  — 

VIOLETTA Mme.  DONATELLI. 

ALFREDO M.  GRAZIANI. 

GERMONT M.  VARESI. 

The  opera  at  its  first  production  was  a  complete 
failure,  though  this  was  due  more  to  the  singers 
than  to  the  music.  It  is  said  that  when  the  doctor 
announced  in  the  third  act  that  Mme.  Donatelli, 
who  impersonated  the  consumptive  heroine,  and 
who  was  one  of  the  stoutest  ladies  ever  seen  on  the 
stage,  had  but  a  few  days  to  live,  the  whole  audi- 
ence broke  out  into  roars  of  laughter.  Time  has 
brought  its  consolations  to  the  composer,  however, 
for  "Traviata"  is  now  one  of  the  most  popular 
operas  in  the  modern  repertory.  When  it  was  first 


250      THE  STANDARD  OPERAS. 

produced  in  Paris,  Oct.  27,  1864,  Christine  Nilsson 
made  her  debut  in  it.  In  London,  the  charming 
little  singer  Mme.  Piccolomini  made  her  d£but  in 
the  same  opera,  May  24,  1856.  Adelina  Patti, 
since  that  time,  has  not  only  made  Violetta  the 
strongest  character  in  her  repertory,  but  is  without 
question  the  most  finished  representative  of  the 
fragile  heroine  the  stage  has  seen. 

The  story  as  told  by  the  librettist  simply  resolves 
itself  into  three  principal  scenes,  —  the  supper  at 
Violetta's  house,  where  she  makes  the  acquaintance 
of  Alfred,  and  the  rupture  between  them  occa- 
sioned by  the  arrival  of  Alfred's  father;  the  ball 
at  the  house  of  Flora;  and  the  death  scene  and 
reconciliation,  linked  together  by  recitative,  so  that 
the  dramatic  unity  of  the  original  is  lost  to  a  certain 
extent.  The  first  act  opens  with  a  gay  party  in 
Violetta's  house.  Among  the  crowd  about  her  is 
Alfred  Germont,  a  young  man  from  Provence,  who 
is  passionately  in  love  with  her.  The  sincerity  of 
his  passion  finally  influences  her  to  turn  aside  from 
her  life  of  voluptuous  pleasure  and  to  cherish  a 
similar  sentiment  for  him.  In  the  next  act  we  find 
her  living  in  seclusion  with  her  lover  in  a  country- 
house  in  the  environs  of  Paris,  to  support  which 
she  has  sold  her  property  in  the  city.  When  Alfred 
discovers  this  he  refuses  to  be  the  recipient  of  her 
bounty,  and  sets  out  for  Paris  to  recover  the  prop- 
erty. During  his  absence  his  father,  who  has  dis- 
covered his  retreat,  visits  Violetta,  and  pleads  with 
her  to  forsake  Alfred,  not  only  on  his  own  account, 


LA  TKAVIATA.  251 

but  to  save  his  family  from  disgrace.  Touched  by 
the  father's  grief,  she  consents,  and  secretly  returns 
to  Paris,  where  she  once  more  resumes  her  old  life. 
At  a  ball  given  by  Flora  Belvoix,  one  of  Violetta's 
associates,  Alfred  meets  her  again,  overwhelms  her 
with  reproaches,  and  insults  her  by  flinging  her 
miniature  at  her  feet  in  presence  of  the  whole  com- 
pany. Stung  by  her  degradation,  Violetta  goes 
home  to  die,  and  too  late  Alfred  learns  the  real 
sacrifice  she  has  made.  He  hastens  to  comfort 
her,  but  she  dies  forgiving  and  blessing  him. 

After  a  short  prelude  the  first  act  opens  with  a 
vivacious  chorus  of  the  guests  at  Violetta's  supper, 
leading  to  a  drinking-song  ("  Libiamo,  libiamo  ") 
in  waltz  time,  sung  first  by  Alfred  and  then  by 
Violetta,  the  chorus  echoing  each  couplet  with  very 
pretty  effect.  After  a  long  dialogue  between  the 
two,  closing  with  chorus,  Violetta  has  a  grand  scena 
which  is  always  a  favorite  show-piece  with  concert 
artists.  It  begins  with  an  andante  movement  ("  Ah  ! 
fors  e  lui  "),  expressive  of  the  suddenly  awakened 
love  which  she  feels  for  Alfred,  with  a  refrain  of 
half  a  dozen  measures  in  the  finale  which  might  be 
called  the  Violetta  motive,  and  then  suddenly  de- 
velops into  a  brisk  and  sparkling  allegro  ("  Sempre 
libera")  full  of  the  most  florid  and  brilliant  orna- 
mentation, in  which  she  again  resolves  to  shut  out 
every  feeling  of  love  and  plunge  into  the  whirl  of 
dissipation.  This  number,  unlike  most  of  Verdi's 
finales  which  are  concerted,  closes  the  act. 

The  second  act  opens  in  the  country-house  with 


252 


THE    STANDARD    OPERAS. 


an  effective  tenor  aria  ("  De'  miei  bollenti  ")  sung 
by  Alfred.  In  the  next  scene  Germont  enters, 
and  after  a  brief  dialogue  with  Violetta  sings  a 
short  cantabile  ("  Pura  siccome  un  angelo  "),  lead- 
ing to  a  duet  ("  Dite  alia  giovine  ")  with  Violetta 
which  is  full  of  tenderness.  In  the  interview  which 
immediately  follows  between  Germont  and  Alfred, 
the  father  appeals  to  his  son  with  memories  of 
home  in  an  andante  ("  Di  Provenza  il  mar  ")  which 
in  form  and  simplicity  and  simple  pathos  of  expres- 
sion might  almost  be  called  a  ballad.  It  is  always 
a  favorite,  and  is  usually  considered  the  best  num- 
ber in  the  opera,  notwithstanding  its  simple  melody. 
The  next  scene  changes  to  the  ball-room  of  Flora, 
and  is  introduced  with  a  peculiar  chorus  effect. 
A  masked  chorus  of  gypsies,  accompanying  their 
measures  with  tambourines,  is  followed  by  a  second 
chorus  of  matadors,  also  in  mask,  who  accent  the 
time  with  the  pikes  they  carry,  the  double  number 
ending  with  a  gay  bolero.  The  act  closes  with  a 
long  duet  between  Violetta  and  Alfred,  developing 
in  the  finale,  by  the  entrance  of  Germont,  to  a  very 
strong  and  dramatic  trio. 

The  third  act  opens  in  Violetta's  chamber  with 
a  reminiscence  of  the  introduction.  As  she  con- 
templates her  changed  appearance  in  the  mirror, 
she  bids  a  sad  farewell  to  her  dreams  of  happiness 
in  the  aria,  "  Addio  !  del  passato,"  in  harsh  contrast 
with  which  is  heard  a  bacchanalian  chorus  behind 
the  scenes  ("  Largo  al  quadrupede  ").  In  the 
next  scene  occurs  the  passionate  duet  with  Alfred, 


IL    TROVATORE.  253 

"  Parigi,  o  cara,"  which  is  a  close  copy  of  the  final 
duet  in  "  Trovatore  "  between  Manrico  and  Azu- 
cena.  It  is  followed  by  the  the  aria,  "  Ah  !  gran 
Dio,"  for  Violetta,  which  leads  to  the  concluding 
quintet  and  death  scene. 


II  Srouatore. 

"  II  Trovatore,"  an  opera  in  four  acts,  words  by 
Cammarano,  was  first  produced  in  Rome,  Jan.  19, 
1853.  In  1857  it  was  brought  out  in  Paris  as  "  Le 
Trouvere,"  and  in  London,  1856,  in  English,  as 
"The  Gypsy's  Vengeance."  It  was  produced  in 
Rome  in  the  same  year  with  "La  Traviata,"  but 
unlike  the  latter,  it  was  greeted  at  once  with  an  en- 
thusiastic welcome ;  and  it  has  held  the  stage  ever 
since  as  one  of  the  most  popular  operas  in  the  mod- 
ern repertory.  In  this  regard,  indeed,  it  shares  with 
"  Martha"  and  "  Faust  "  the  highest  place  in  popu- 
lar admiration. 

The  opera  opens  with  a  midnight  scene  at  the 
palace  of  Aliaferia,  where  the  old  servitor,  Fer- 
rando,  relates  to  his  associates  the  story  of  the  fate 
of  Garzia,  brother  of  the  Count  di  Luna,  in  whose 
service  they  are  employed.  While  in  their  cradles, 
Garzia  was  bewitched  by  an  old  gypsy,  and  day 
by  day  pined  away.  The  gypsy  was  burned  at  the 
stake  for  sorcery ;  and  in  revenge  Azucena,  her 
daughter,  stole  the  sickly  child.  At  the  opening 
of  the  opera  his  fate  has  not  been  discovered* 


254 


THE  STANDARD  OPERAS. 


As  the  servitor  closes  his  narrative  and  he  and  his 
companions  depart,  the  Count  di  Luna  enters  and 
lingers  by  the  apartment  of  the  Duchess  Leonora, 
with  whom  he  is  in  love.  Hearing  his  voice,  Leo- 
nora comes  into  the  garden,  supposing  it  is  Man- 
rico  the  troubadour,  whom  she  had  crowned  victor 
at  a  recent  tournament,  ,and  of  whom  she  had  be- 
come violently  enamoured.  As  she  greets  the  Count, 
Manrico  appears  upon  the  scene  and  charges  her 
with  infidelity.  Recognizing  her  error,  she  flies  to 
Manrico  for  protection.  The  Count  challenges  him 
to  combat,  and  as  they  prepare  to  fight  she  falls  to 
the  ground  insensible. 

In  the  second  act  we  are  introduced  to  a  gypsy 
camp,  where  Azucena  relates  to  Manrico,  who  has 
been  wounded  in  the  duel  with  the  Count,  the 
same  story  which  Ferrando  had  told  his  friends, 
with  the  addition  that  when  she  saw  her  mother 
burning  she  caught  up  the  Count's  child,  intending 
to  throw  it  into  the  flames,  but  by  a  mistake  sacri- 
ficed her  own  infant.  As  the  story  concludes,  a 
messenger  arrives,  summoning  Manrico  to  the  de- 
fence of  the  castle  of  Castellar,  and  at  the  same 
time  informing  him  that  Leonora,  supposing  him 
dead,  has  gone  to  a  convent.  He  arrives  at  the 
convent  in  time  to  rescue  her  before  she  takes  her 
vows,  and  bears  her  to  Castellar,  which  is  at  once 
besieged  by  the  Count's  forces. 

The  third  act  opens  in  the  camp  of  the  Count, 
where  Azucena,  arrested  as  a  spy,  is  dragged  in. 
She  calls  upon  Manrico  for  help.  The  mention  of 


IL    TROVATORE. 


255 


his  rival's  name  only  adds  fuel  to  the  Count's 
wrath,  and  he  orders  the  gypsy  to  be  burned  in 
sight  of  the  castle.  Ferrando  has  already  recog- 
nized her  as  the  supposed  murderer  of  the  Count's 
brother,  and  her  filial  call  to  Manrico  also  reveals 
to  him  that  she  is  his  mother.  He  makes  a  des- 
perate effort  to  rescue  her,  but  is  defeated,  taken 
prisoner,  and  thrown  into  a  dungeon  with  Azucena. 
Leonora  vainly  appeals  to  the  Count  to  spare  Man- 
rico, and  at  last  offers  him  her  hand  if  he  will  save 
his  life.  He  consents,  and  Leonora  hastens  to  the 
prison  to  convey  the  tidings,  having  previously 
taken  poison,  preferring  to  die  rather  than  fulfil  her 
hateful  compact.  Manrico  refuses  his  liberty,  and 
as  Leonora  falls  in  a  dying  condition  the  Count 
enters  and  orders  Manrico  to  be  put  to  death  at 
once.  He  is  dragged  away  to  execution,  but  as 
the  Count  triumphantly  forces  Azucena  to  a  win- 
dow and  shows  her  the  tragic  scene,  she  reveals  her 
secret,  and  informing  the  horror-stricken  Count 
that  he  has  murdered  his  own  brother,  falls  lifeless 
to  the  ground. 

The  first  act  opens  with  a  ballad  in  mazurka 
time  ("Abbietta  Zingara"),  in  which  Ferrando  re- 
lates the  story  of  the  gypsy,  leading  up  to  a  scena 
for  Leonora,  which  is  treated  in  Verdi's  favorite 
style.  It  begins  with  an  andante  ("  Tacea  la  notte 
placida  "),  a  brief  dialogue  with  her  attendant  Inez 
intervening,  and  then  develops  into  an  allegro  ("  Di 
tale  amor  ")  which  is  a  brilliant  bit  of  bravura.  A 
brief  snatch  of  fascinating  melody  behind  the  scenes 


256  THE   STANDARD     OPERAS, 

("  Deserto  sulla  terra ")  introduces  Manrico,  and 
the  act  closes  with  a  trio  ("  Di  geloso  amor  sprez- 
zato  "),  which  as  an  expression  of  combined  grief, 
fear,  and  hate,  is  one  of  the  most  dramatic  and 
intense  of  all  Verdi's  finales. 

The  second  act  opens  with  the  Anvil  chorus  in 
the  camp  of  the  gypsies  ("  La  Zingarella'"),  the 
measures  accented  with  hammers  upon  the  anvils. 
This  number  is  so  familiar  that  it  does  not  need 
further  reference.  As  its  strains  die  away  in  the 
distance,  Azucena  breaks  out  into  an  aria  of  in- 
tense energy,  with  very  expressive  accompaniment 
("  Stride  le  vampa  "),  in  which  she  tells  the  fear- 
ful story  of  the  burning  of  her  mother.  A  very  dra- 
matic dialogue  with  Manrico  ensues,  closing  with 
a  spirited  aria  for  tenor  ("  Mai  reggendo  ")  and 
duet  ("  Sino  all'  elsa  ").  The  scene  is  interrupted 
by  the  notes  of  a  horn  announcing  the  arrival  of  a 
messenger.  The  second  scene  is  introduced  by  a 
flowing,  broad,  and  beautifully  sustained  aria  for 
the  Count  ("  II  balen  del  suo  "),  and,  like  Leo- 
nora's numbers  in  the  garden  scene,  again  develops 
from  a  slow  movement  to  a  rapid  and  spirited 
march  tempo  ("  Per  me  ora  fatale  "),  the  act  clos- 
ing with  a  powerful  concerted  effect  of  quartet  and 
chorus. 

The  third  act  is  introduced  with  a  very  free  and 
animated  soldiers'  chorus.  Azucena  is  dragged  in 
and  sings  a  plaintive  lament  for  Manrico  ("  Giorni 
poveri ").  Two  duets  follow,  between  Azuceua 
and  the  Count,  and  Manrico  and  Leonora,  —  the 


THE  MASKED  BALL.  257 

second  worked  up  with  beautiful  effect  by  the 
blending  of  the  organ  in  the  convent  chapel.  The 
act  closes  with  the  spirited  aria,  "  Di  quella  pira," 
for  Manrico,  —  a  number  which  has  always  been 
the  delight  of  great  dramatic  tenors,  not  alone  for 
its  fine  melody,  but  for  its  opportunity  of  showing 
the  voice  and  using  the  exceptional  high  C  which 
is  introduced  in  the  finale  of  the  aria. 

The  last  act  is  replete  with  beautiful  melodies 
following  each  other  in  quick  succession.  It  opens 
with  a  very  florid  aria  for  Leonora  ("  D'  amor  sull' 
ali  rosee  "),  leading  to  the  exquisite  scene  of  the 
Miserere,  "  Ah  che  la  morte,"  —  a  number  which 
has  never  yet  failed  to  charm  and  arouse  audiences 
with  the  beauty  and  richness  of  its  musical  effect. 
As  the  Count  enters,  Leonora  has  another  powerful 
aria  ("  Mira  di  acerbe  "),  which  in  the  next  scene 
is  followed  by  the  familiar  duet  between  Azucena 
and  Manrico,  "  Si  la  stanchezza,"  upon  which  Verdi 
lavished  his  musical  skill  with  charming  effect.  The 
last  scene  closes  with  the  tragedy.  The  whole 
opera  is  liberally  enriched  with  melodies,  and  is 
dramatic  throughout  ;  but  the  last  act  is  the  crown 
of  the  work,  and  may  successfully  challenge  com- 
parison, for  beauty,  variety,  and  dramatic  effect, 
with  any  other  opera  in  the  purely  Italian  school. 


"  II  Ballo  in  Maschera,"  an  opera  in  three  acts, 
but  usually  performed  in  four,  words  by  M.  Somma. 
17 


258  THE    STANDARD    OPERAS. 

was  first  produced  in  Rome,  Feb.  17,  1859.  In 
preparing  his  work  for  the  stage,  Verdi  encountered 
numerous  obstacles.  The  librettist  used  the  same 
subject  which  M.  Scribe  had  adopted  for  Auber's 
opera,  "  Gustavus  III.,"  and  the  opera  was  at  first 
called  by  the  same  name,  —  "Gustavo  III."  It 
was  intended  for  production  at  the  San  Carlo, 
Naples,  during  the  Carnival  of  1858 ;  but  while  the 
rehearsals  were  proceeding,  Orsini  made  his  mem- 
orable attempt  to  kill  Napoleon  III.,  and  the  au- 
thorities at  once  forbade  a  performance  of  the 
work,  as  it  contained  a  conspiracy  scene.  The 
composer  was  ordered  to  set  different  words  to  his 
music,  but  he  peremptorily  refused ;  whereupon 
the  manager  brought  suit  against  him,  claiming 
forty  thousand  dollars  damages.  The  disappoint- 
ment nearly  incited  a  revolution  in  Naples.  Crowds 
gathered  in  the  streets  shouting,  "  Viva  Verdi," 
implying  at  the  same  time,  by  the  use  of  the  letters 
in  Verdi's  name,  the  sentiment,  "  Viva  Vittorlo  Em- 
manuele  Re  Di  Italia."  A  way  out  of  his  difficulties, 
however,  was  finally  suggested  by  the  impresario  at 
Rome,  who  arranged  with  the  censorship  to  have 
the  work  brought  out  at  the  Teatro  Apollo  as  "Un 
Ballo  in  Maschera."  The  scene  was  changed  to 
Boston,  Massachusetts,  and  the  time  laid  in  the 
colonial  period,  notwithstanding  the  anachronism 
that  masked  balls  were  unknown  at  that  time  in 
New  England  history.  The  Swedish  king  appeared 
as  Ricardo,  Count  of  Warwick  and  Governor  of 
Boston,  and  his  attendants  as  Royalists  and  Puritans, 


THE  MASKED  BALL. 


259 


among  them  two  negroes,  Sam  and  Tom,  who  are 
very  prominent  among  the  conspirators.  In  this 
form,  the  Romans  having  no  objection  to  the  assas- 
sination of  an  English  governor,  the  opera  was  pro- 
duced with  great  success. 

The  first  act  opens  in  the  house  of  the  Governor, 
where  a  large  party,  among  them  a  group  of  con- 
spirators, is  assembled.  During  the  meeting  a  pe- 
tition is  presented  for  the  banishment  of  Ulrico,  a 
negro  sorcerer.  Urged  by  curiosity,  the  Governor, 
disguised  as  a  sailor  and  accompanied  by  some  of 
his  friends,  pays  the  old  witch  a  visit.  Meanwhile 
another  visit  has  been  planned.  Amelia,  the  wife 
of  the  Governor's  secretary,  meets  the  witch  at 
night  in  quest  of  a  remedy  for  her  passion  for 
Richard,  who  of  course  has  also  been  fascinated 
by  her.  They  arrive  about  the  same  time,  and  he 
overhears  the  witch  telling  her  to  go  to  a  lonely 
spot,  where  she  will  find  an  herb  potent  enough  to 
cure  her  of  her  evil  desires.  The  Governor  follows 
her,  and  during  their  interview  the  Secretary  hur- 
riedly rushes  upon  the  scene  to  notify  him  that 
conspirators  are  on  his  track.  He  throws  a  veil 
over  Amelia's  face  and  orders  Reinhart,  the  Secre- 
tary, to  conduct  her  to  a  place  of  safety  without 
seeking  to  know  who  she  is.  He  consents,  and 
the  Governor  conceals  himself  in  the  forest.  The 
conspirators  meanwhile  meet  the  pair,  and  in  the 
confusion  Amelia  drops  her  veil,  thus  revealing 
herself  to  Reinhart.  Furious  at  the  Governor's 
perfidy,  he  joins  the  conspirators.  In  the  de- 


26o  THE    STANDARD    OPERAS. 

nouemcnt  the  Secretary  stabs  his  master  at  a  mas- 
querade, and  the  latter  while  dying  attests  the 
purity  of  Amelia,  and  magnanimously  gives  his  sec- 
retary a  commission  appointing  him  to  a  high  posi- 
tion in  England. 

After  a  brief  prelude,  the  first  act  opens  with  a 
double  chorus,  in  which  the  attitude  of  the  friends 
of  the  Governor  and  the  conspirators  against  him 
is  strongly  contrasted.  In  the  next  scene  Rich- 
ard and  his  page,  Oscar,  enter ;  and  after  a  short 
dialogue  Richard  sings  a  very  graceful  romanza 
("  La  rivedra  nell*  estasi "),  which  in  the  next 
scene  is  followed  by  a  spirited  aria  for  Reinhart 
("  Di  speranze  e  glorie  piena ").  In  the  fourth 
scene  Oscar  has  a  very  pretty  song  ("  Volta  la 
terrea  "),  in  which  he  defends  Ulrica  against  the 
accusations  of  the  judge,  leading  up  to  a  very 
effective  quintet  and  chorus  which  has  a  flavor  of 
the  opera  bouffe  style.  In  grim  contrast  with  it 
comes  the  witch  music  in  the  next  scene  ("  Re 
del  abisso  "),  set  to  a  weird  accompaniment.  As 
the  various  parties  arrive,  a  somewhat  talky  trio 
ensues  between  Amelia,  Ulrica,  and  Richard,  fol- 
lowed in  the  next  scene  by  a  lovely  barcarole  ("  Di' 
tu  se  fedele  ")"sung  by  Richard,  leading  to  a  beauti- 
fully written  concerted  finale  full  of  sharp  dramatic 
contrasts. 

The  second  act  opens  upon  a  moonlight  scene 
on  the  spot  where  murderers  are  punished ;  and 
Amelia,  searching  for  the  magic  herb,  sings  a  long 
dramatic  aria  ("  Ma  dall  arido  ")  consisting  of  ab- 


THE  MASKED  BALL.  261 

rupt  and  broken  measures,  the  orchestra  filling  the 
gaps  with  characteristic  accompaniment.  Richard 
appears  upon  the  scene,  and  the  passionate  love- 
duet  follows,  "  M'  ami,  m'  ami."  The  interview  is 
ended  by  the  sudden  appearance  of  Reinhart,  who 
warns  the  Governor  of  his  danger,  the  scene  taking 
the  form  of  a  spirited  trio  ("Odi  tu  come").  A 
buffo  trio  closes  the  act,  Sam  and  Tom  supplying 
the  humorous  element  with  their  laughing  refrain. 

The  last  act  opens  in  Reinhart's  house  with  a 
passionate  scene  between  the  Secretary  and  his 
wife,  containing  two  strong  numbers,  a  minor  an- 
dante ("  Morro,  ma  prima  in  grazia  ")  for  Amelia, 
and  an  aria  for  Reinhart  ("  O  dolcezzo  perdute  "), 
which  for  originality  and  true  artistic  power  is 
worthy  of  being  classed  as  an  inspiration.  The 
conspiracy  music  then  begins,  and  leads  to  the 
ball  scene,  which  is  most  brilliantly  worked  up  with 
orchestra,  military  band,  and  stringed  quartet  be- 
hind the  scenes  supplying  the  dance-music,  and 
the  accompaniment  to  the  tragical  conspiracy,  in 
the  midst  of  which,  like  a  bright  sunbeam,  comes 
the  page's  bewitching  song,  "  Saper  vorreste."  The 
opera  closes  with  the  death  of  Richard,  set  to 
a  very  dramatic  accompaniment.  "  The  Masked 
Ball "  was  the  last  work  Verdi  wrote  for  the  Italian 
stage,  and  though  uneven  in  its  general  effect,  it 
contains  some  of  his  most  original  and  striking  num- 
bers, —  particularly  those  allotted  to  the  page  and 
Reinhart.  In  the  intensity  of  the  music  and  the 
strength  of  the  situations  it  is  superior  even  to 


262  THE    STANDARD    OPERAS. 

"  Trovatore,"  as  the  composer  makes  his   effects 
more  legitimately. 


"  Aida,"  an  opera  in  four  acts,  was  first  produced 
at  Cairo,  Egypt,  Dec.  27,  1871,  and  was  written 
upon  a  commission  from  the  Khedive  of  that 
country.  The  subject  of  the  opera  was  taken  from 
a  sketch,  originally  written  in  prose,  by  the  director 
of  the  Museum  at  Boulak,  which  was  afterwards 
rendered  into  French  verse  by  M.  Camille  de 
Locle,  and  translated  thence  into  Italian  for  Verdi 
by  Sig.  A.  Ghizlandoni.  It  is  the  last  opera  Verdi 
has  composed,  and  is  notable  for  his  departure  from 
the  conventional  Italian  forms  and  the  partial  sur- 
render he  has  made  to  the  constantly  increasing 
influence  of  the  so-called  music  of  the  future.  The 
subject  is  entirely  Egyptian,  and  the  music  is  full  of 
Oriental  color. 

The  action  of  the  opera  passes  in  Memphis  and 
Thebes,  and  the  period  is  in  the  time  of  the  Pha- 
raohs. Aida,  the  heroine,  is  a  slave,  daughter  of 
Amonasro,  the  King  of  Ethiopia,  and  at  the  opening 
of  the  opera  is  in  captivity  among  the  Egyptians. 
A  secret  attachment  exists  between  herself  and 
Rhadames,  a  young  Egyptian  warrior,  who  is  also 
loved  by  Amneris,  daughter  of  the  sovereign  of  Egypt. 
The  latter  suspects  that  she  has  a  rival,  but  does 
not  discover  her  until  Rhadames  returns  victorious 
from  an  expedition  against  the  rebellious  Amonasro, 


AW  A.  263 

who  is  brought  back  a  prisoner.  The  second  act 
opens  with  a  scene  between  Amneris  and  Aida,  in 
which  the  Princess  wrests  the  secret  from  the  slave 
by  pretending  that  Rhadames  has  been  killed ;  and 
the  truth  is  still  further  revealed  when  Rhadames 
pleads  with  the  King  to  spare  the  lives  of  the  cap- 
tives. The  latter  agrees  to  release  all  but  Aida  and 
Amonasro,  bestows  the  hand  of  Amneris  upon  the 
unwilling  conqueror,  and  the  act  closes  amid  gen- 
eral jubilation.  Acting  upon  Amonasro's  admoni- 
tions, Aida  influences  Rhadames  to  fly  from  Egypt 
and  espouse  the  cause  of  her  father.  The  lovers 
are  overheard  by  Amneris  and  Ramfis",  the  high 
priest.  The  Princess,  with  all  the  fury  of  a  woman 
scorned,  denounces  Rhadames  as  a  traitor.  He  is 
tried  for  treason  and  condemned  to  be  buried  alive 
in  the  vaults  under  the  temple  of  the  god  Phtah. 
Pardon  is  offered  him  if  he  will  accept  the  hand  of 
Amneris,  but  he  refuses  and  descends  to  the  tomb, 
where  he  finds  Aida  awaiting  him.  The  stones  are 
sealed  above  them  and  the  lovers  are  united  in 
death,  while  Amneris,  heart-broken  over  the  tragedy 
her  jealousy  has  caused,  kneels  in  prayer  before 
their  sepulchre. 

After  a  short  prelude,  consisting  of  a  beautiful 
pianissimo  movement,  mainly  for  the  violins,  and 
very  Wagnerish  in  its  general  style,  the  first  act 
opens  in  a  hall  of  the  King's  palace  at  Memphis. 
A  short  dialogue  between  Rhadames  and  the  priest 
Ramfis  leads  to  a  delicious  romanza  ("  Celeste 
Aida  ")  which  is  entirely  fresh  and  original,  recalling 


264  THE    STANDARD    OPERAS. 

nothing  that  appears  in  any  of  Verdi's  previous 
works.  It  is  followed  by  a  strong  declamatory  duet 
between  Rhadames  and  Amneris,  which  upon  the 
appearance  of  Aida  develops  to  a  trio  ("Vieni,  o 
diletta  ").  In  the  next  scene  the  King  and  his 
retinue  of  ministers,  priests,  and  warriors  enter, 
and  a  majestic  ensemble  occurs,  beginning  with  a 
martial  chorus  ("  Su  !  del  Nilo  ")  in  response  to 
the  appeal  of  the  priests.  As  the  war  chorus  dies 
away  and  the  retinue  disappears,  Aida  has  a  scena 
of  great  power.  It  begins  with  a  lament  for  her 
country  ("  Ritorna  vincitor "),  in  passionate  de- 
clamatory phrases,  clearly  showing  the  influence  of 
Wagner ;  but  in  its  smooth,  flowing  cantabile  in 
the  finale,  "  Numi  pieta,"  Verdi  returns  to  the 
Italian  style  again.  The  final  scene  is  full  of 
oriental  color  and  barbaric  richness  of  display. 
The  consecrated  arms  are  delivered  to  Rhadames. 
The  priestesses  behind  the  scene  to  the  accom- 
paniment of  harps,  and  the  priests  in  front  with 
sonorous  chant,  invoke  the  aid  of  the  god  Phtah, 
while  other  priestesses  execute  the  sacred  dance. 
An  impressive  duet  between  Ramfis  and  Rhadames 
closes  the  act.  In  this  finale,  Verdi  has  utilized 
two  native  Egyptian  themes,  —  the  melody  sung  by 
the  priestesses  with  the  harps,  and  the  dance-melody 
given  out  by  the  flutes. 

The  second  act  opens  with  a  female  chorus  by 
the  slave  girls,  the  rhythm  of  which  is  in  keeping 
with  the  oriental  scene,  followed  by  an  impassioned 
duet  between  Amneris  and  Aida  ("  Alia  pompa  che 


ATDA.  265 

si  appresta  "),  through  which  are  heard  the  martial 
strains  of  the  returning  conqueror.  The  second 
scene  opens  the  way  for  another  ensemble,  which 
with  its  massive  choruses,  and  its  stirring  march 
and  ballet,  heralding  the  victory  of  Rhadames,  is 
one  of  the  most  picturesque  stage  scenes  the  opera 
has  ever  furnished.  A  solemn,  plaintive  strain  runs 
through  the  general  jubilation  in  the  appeal  of 
Amonasro  ("  Questo  assisa  ch'  io  vesto  ")  to  the 
King  for  mercy  to  the  captives.  The  finale  be- 
gins with  the  remonstrances  of  the  priests  and 
people  against  the  appeals  of  Amonasro  and  Rha- 
dames, and  closes  with  an  intensely  dramatic  con- 
certed number,  —  a  quintet  set  off  against  the  suc- 
cessive choruses  of  the  priests,  prisoners,  and  people 
("  Gloria  all'  Egitto  "). 

The  third  act,  like  the  first,  after  a  brief  dialogue, 
opens  with  a  lovely  romanza  ("  O  cieli  azzuri  ") 
sung  by  Aida,  and  the  remainder  of  the  act  is 
devoted  to  two  duets,  —  the  first  between  Amonasro 
and  Aida,  and  the  second  between  Rhadames  and 
Aida.  Each  is  very  dramatic  in  style  and  passion- 
ate in  declamation,  while  they  are  revelations  in 
the  direction  of  combining  the  poetic  and  musical 
elements,  when  compared  with  any  of  the  duets  in 
Verdi's  previous  operas.  In  the  last  act  the  first 
scene  contains  another  impressive  duet  between 
Rhadames  and  Amneris  ("Chi  ti  salva,  o  sciagu- 
rato  "),  ending  with  the  despairing  song  of  Amneris, 
"  Ohime  !  morir  mi  sento."  In  the  last  scene  the 
stage  is  divided  into  two  parts.  The  upper  repre- 


266      THE  STANDARD  OPERAS. 

scnts  the  temple  of  Vulcan,  or  Phtah,  crowded  with 
priests  and  priestesses,  chanting  as  the  stone  is  closed 
over  the  subterranean  entrance,  while  below,  in  the 
tomb,  Aida  and  Rhadames  sing  their  dying  duet 
("  O  terra,  addio  "),  its  strains  blending  with  the 
jubilation  of  the  priests  and  the  measures  of  the 
priestesses'  sacred  dance.  "  Aida "  is  the  last 
and  unquestionably  the  greatest,  if  not  the  most 
popular,  of  Verdi's  works.  It  marks  a  long  step 
from  the  style  of  his  other  operas  towards  the  pro- 
duction of  dramatic  effect  by  legitimate  musical 
means,  and  shows  the  strong  influence  Wagner  has 
had  upon  him.  Since  this  work  was  produced,  no 
other  for  the  stage  has  come  from  his  pen.  Should 
he  break  his  long  silence,  some  new  work  may  show 
that  he  has  gone  still  farther  in  the  new  path.  If 
the  time  for  rest  has  come,  however,  to  the  aged 
composer,  "  Aida "  will  remain  his  masterpiece 
among  musicians  and  connoisseurs,  though  "  Trova- 
tore  "  will  be  best  loved  by  the  people. 


"  Othello,"  the  last  of  the  long  and  brilliant  series 
of  Verdi's  operas,  was  completed  in  1886,  and  first 
produced  at  the  La  Scala  Theatre,  Milan,  Feb.  5, 

1  Othello  has  formed  the  subject  of  the  following  compositions : 
"  Otello,"  opera  in  3  acts,  text  by  Berio,  music  by  Rossini  (1816); 
"Othelleri,"  parody  by  Miiller,  Vienna  (1828);  Othello,  overture 
by  Krug(iS83);  "Un  Othello,"  operetta,  by  I.egoux,  Paris  (1863); 
and  "  Othello,"  opera  in  4  acts,  text  by  Boito,  music  by  Verdi  (1886). 


OTHELLO.  267 

1887,  with  remarkable  success,  Signora  Pantaleoni, 
Signers  Maurel  and  Tamagno  taking  the  three 
leading  roles.  The  libretto  was  prepared  by  the 
accomplished  Italian  scholar  and  musician,  Arrigo 
Boito,  and  closely  follows  the  story  of  the  Shak- 
spearian  tragedy. 

The  curtain  rises  upon  a  scene  in  Cyprus.  A 
storm  is  raging,  and  a  crowd,  among  them  lago, 
Cassio,  and  Roderigo,  watch  the  angry  sea,  specu- 
lating upon  the  fate  of  Othello's  vessel,  which  finally 
arrives  safely  in  port  amid  much  rejoicing.  After 
returning  the  welcomes  of  his  friends  he  enters  the 
castle  with  Cassio  and  Montano.  The  conspiracy 
at  once  begins  by  the  disclosure  of  lago  to  Roderigo 
of  the  means  by  which  Cassio's  ruin  may  be  com- 
passed. Then  follows  the  quarrel,  which  is  inter- 
rupted by  the  appearance  of  Othello,  who  deprives 
Cassio  of  his  office.  A  love-scene  ensues  between 
Desdemona  and  the  Moor ;  but  in  the  next  act  the 
malignity  of  lago  has  already  begun  to  take  effect, 
and  the  seeds  of  jealousy  are  sown  in  Othello's 
breast.  His  suspicions  are  freshly  aroused  when 
Desdemona  intercedes  in  Cassio's  behalf,  and  are 
changed  to  conviction  by  the  handkerchief  episode 
and  lago's  artful  insinuation  that  Cassio  mutters 
the  name  of  Desdemona  in  his  sleep ;  at  which  the 
enraged  Moor  clutches  him  by  the  throat  and  hurls 
him  to  the  ground.  In  the  third  act  lago  continues 
his  diabolical  purpose,  at  last  so  inflaming  Othello's 
mind  that  he  denounces  Desdemona  for  her  perfidy. 
The  act  concludes  with  the  audience  to  the  Venetian 


268       THE  STANDARD  OPERAS. 

embassy,  during  which  he  becomes  enraged,  strikes 
Desdemona,  and  falls  in  convulsions.  The  last  act 
transpires  in  her  chamber,  and  follows  Shakspeare 
in  all  the  details  of  the  smothering  of  Desdemona 
and  the  death  of  Othello. 

There  is  no  overture  proper  to  the  opera.  After 
a  few  vigorous  bars  of  prelude,  the  scene  opens 
with  a  tempestuous  and  very  striking  description 
of  a  sea-storm  by  the  orchestra,  with  the  choruses  of 
sailors  and  Cypriots  rising  above  it  and  expressing 
alternate  hope  and  terror.  After  a  short  recitative 
the  storm  dies  away,  and  the  choral  phrases  of 
rejoicing  end  in  a  pianissimo  effect.  A  hurried 
recitative  passage  between  lago  and  Roderigo 
introduces  a  drinking  scene  in  which  lago  sings 
a  very  original  and  expressive  brindisi  with  rol- 
licking responses  by  the  chorus.  The  quarrel 
follows  with  a  vigorous  and  agitated  accompani- 
ment, and  the  act  conies  to  a  close  with  a  beautiful 
love-duet  between  Othello  and  Desdemona. 

The  second  act  opens  with  recitative  which 
reveals  all  of  lago's  malignity,  and  is  followed  by 
his  monologue,  in  which  he  sings  a  mock  Credo 
which  is  Satanic  in  utterance.  It  is  accompanied 
with  tremendous  outbursts  of  trumpets,  and  leads  up 
to  a  furious  declamatory  duet  with  Othello.  The 
next  number  brings  a  grateful  change.  It  is  a 
graceful  mandolinata,  sung  by  children's  voices 
and  accompanied  by  mandolins  and  guitars,  fol- 
lowed by  a  charming  chorus  of  mariners,  who  bring 
shells  and  corals  to  Desdemona.  The  intercession 


OTHELLO.  269 

episode  ensues,  leading  to  a -grand  dramatic  quartet 
for  Desdemona,  Emilia,  lago,  and  Othello.  The 
latter  then  sings  a  pathetic  but  stirring  melody 
with  trumpet  accompaniment,  the  farewell  to  war, 
and  the  act  closes  with  a  tumultuous  duet  between 
himself  and  lago. 

The  third  act  opens  with  a  very  expressive  duet 
for  Othello  and  Desdemona,  in  which  the  growing 
wrath  of  the  former  and  the  sweet  and  touching 
unconsciousness  of  the  other  are  happily  con- 
trasted. A  sad  monologue  by  Othello  prepares  the 
way  for  the  coming  outbreak.  The  handkerchief 
trio  follows,  in  which  the  malignity  of  lago,  the 
indignation  of  Othello,  and  the  inability  of  Cassio 
to  understand  the  fell  purpose  of  lago  are  brought 
out  with  great  force.  At  its  close  a  fanfare  of 
trumpets  announces  the  Venetian  embassy,  and  the 
finale  begins  with  much  brilliancy.  Then  follows 
the  scene  in  which  Othello  smites  down  Desde- 
mona. She  supplicates  for  mercy  in  an  aria  of 
tender  beauty,  which  leads  up  to  a  strong  sextet. 
All  the  guests  depart  but  lago ;  and  as  Othello, 
overcome  with  his  emotions,  swoons  away,  the 
curtain  falls  upon  lago's  contemptuous  utterance, 
"  There  lies  the  lion  of  Venice." 

The  fourth  act  is  full  of  musical  beauty.  After 
an  orchestral  introduction  in  which  the  horn  has 
a  very  effective  solo,  the  curtain  rises  and  the 
action  transpires  in  Desdemona's  chamber.  The 
scene  opens  with  a  touching  recitative  between 
Desdemona  and  Emilia.  While  the  former  pre- 


270 


THE  STANDARD  OPERAS. 


pares  herself  for  slumber  she  sings  the  "  Willow 
Song,"  an  unaffected  melody  as  simple  and  char- 
acteristic as  a  folk-song.  Emilia  retires,  and  by 
a  natural  transition  Desdernona  sings  an  "  Ave 
Maria,"  which  is  as  simple  and  beautiful  in  its 
way  as  the  "  Willow  Song."  She  retires  to  her 
couch,  and  in  the  silence  Othello  steals  in,  dagger 
in  hand,  the  contra-basses  giving  out  a  sombre  and 
deep-toned  accompaniment  which  is  startling  in  its 
effect.  He  kisses  her,  the  motive  from  the  love- 
duet  appearing  in  the  orchestra ;  then,  after  a  hur- 
ried dialogue,  stifles  her.  He  then  kills  himself, 
his  last  words  being  a  repetition  of  those  in  the 
duet,  while  the  strings  tenderly  give  out  the 
melody  again. 


"  Falstaff,"  an  opera  in  three  acts,  words  by  Arrigo 
Boito,  was  first  performed  March  12,  1893,  at  the 
Teatro  alia  Scala,  Milan,  with  the  following  cast  of 
characters  :  — 

Mistress  FORD Signora  ZILLI 

NANNETTA Madame  STEHLE 

FENTON M.  GARBIN 

Dr.  CAIUS Signor  PAROLI 

PISTOLA Signor  ARIMONDI 

Mistress  PAGE Signora  GUERRINI 

Mistress  QUICKLY Signora  PASQUA 

FORD Signor  PiNi-CoRSi 

BARDOLFO Signor  PKLAGALLI-ROSSETTI 

FALSTAFF  M.  MAUREL 


FALSTAFF. 


271 


The  libretto,  which  is  mainly  based  upon  "  The 
Merry  Wives  of  Windsor,"  also  makes  some  contri- 
butions upon  "  Henry  IV.,"  particularly  in  the  intro- 
duction of  the  monologue  upon  honor,  and  illustrates 
Boito's  skill  in  adaptation  as  well  as  his  remarkable 
powers  in  condensation.  In  the  arrangement  of 
the  comedy  the  five  acts  are  reduced  to  three.  The 
characters  Shallow,  Slender,  William,  Page,  Sir 
Hugh  Evans,  Simple,  and  Rugby  are  eliminated, 
leaving  Falstaff,  Fenton,  Ford,  Dr.  Caius,  Bardolph, 
Pistol,  Mistress  Ford,  Mistress  Page,  Anne,  Dame 
Quickly  and  three  minor  characters  as  the  dramatis 
persona,  though  Anne  appears  as  Nannetta  and  is 
the  daughter  of  Ford  instead  of  Page. 

The  first  act  opens  with  a  scene  at  the  Garter 
Inn,  disclosing  an  interview  between  Falstaff  and 
Dr.  Caius,  who  is  complaining  of  the  ill  treatment  he 
has  received  from  the  fat  Knight  and  his  followers, 
but  without  obtaining  any  satisfaction.  After  his 
departure,  Falstaff  seeks  to  induce  Bardolph  and 
Pistol  to  carry  his  love-letters  to  Mistresses  Ford 
and  Page ;  but  they  refuse,  upon  the  ground  that 
their  honor  would  be  assailed,  which  gives  occasion 
for  the  introduction  of  the  monologue  from  "  Henry 
IV."  The  letters  are  finally  intrusted  to  a  page, 
and  the  remainder  of  the  act  is  devoted  to  the 
plots  of  the  women  to  circumvent  him,  with  an 
incidental  revelation  of  the  loves  of  Fenton  and 
Nannetta,  or  Anne  Page.  In  the  second  act,  we 
have  Falstaff  s  visit  to  Mistress  Ford,  as  planned  by 
the  merry  wives,  the  comical  episode  of  his  conceal- 


272 


STANDARD   OPERAS. 


ment  in  the  buck-basket,  and  his  dumping  into  the 
Thames.  In  the  last  act,  undaunted  by  his  buck- 
basket  experiences,  Falstaff  accepts  a  fresh  invitation 
to  meet  Mistress  Ford  in  Windsor  Park.  In  this 
episode  occurs  the  fairy  masquerade  at  Herne's 
Oak,  in  the  midst  of  which  he  is  set  upon  and 
beaten,  ending  in  his  complete  discomfiture.  Then 
all  is  explained  to  him ;  Nannetta  is  betrothed  to 
Fenton ;  and  all  ends  merry  as  a  marriage  bell. 

There  is  no  overture.  After  four  bars  of  prelude 
the  curtain  rises,  and  the  composer  introduces  Dr. 
Caius  with  the  single  exclamation,  "Falstaff,"  and  the 
latter's  reply,  "  Ho  !  there,"  which  are  emblematic 
of  the  declamatory  character  of  the  whole  opera ; 
for  although  many  delightful  bits  of  melody  are 
scattered  through  it,  the  instrumentation  really  tells 
the  story,  as  in  the  Wagner  music-drama,  though 
in  this  latest  work  of  the  veteran  composer  there 
is  less  of  the  Wagnerian  idea  than  in  his  "  Aida." 
The  first  scene  is  mainly  humorous  dialogue,  but  there 
are  two  notable  exceptions, — the  genuine  lyrical 
music  of  Falstaff  s  song  ("'Tis  she  with  eyes  like 
stars  "),  and  the  Honor  monologue,  a  superb  piece 
of  recitative  with  a  characteristic  accompaniment  in 
which  the  clarinets  and  bassoons  fairly  talk,  as  they 
give  the  negative  to  the  Knight's  sarcastic  questions. 
The  most  attractive  numbers  of  the  second  scene 
are  Mistress  Ford's  reading  of  Falstaff's  letter,  which 
is  exquisitely  lyrical,  a  quartet,  a  capella,  for  the 
four  women  ("  He  '11  surely  come  courting  "), 
followed  by  a  contrasting  male  quartet  ("  He 's  a 


FALSTAFF. 


273 


foul,  a  ribald  thief"),  the  act  closing  with  the  two 
quartets  offsetting  each  other,  and  enclosing  an 
admirable  solo  for  Fenton. 

The  second  act  opens  with  the  interview  between 
Dame  Quickly  and  Falstaff,  in  which  the  instrumen- 
tation runs  the  whole  gamut  of  ironical  humor. 
Then  follows  the  scene  between  Ford  and  Falstaff, 
in  which  the  very  clink  of  the  money,  and  Falstaffs 
huge  chuckles,  are  deliberately  set  forth  in  the 
orchestra  with  a  realism  which  is  the  very  height 
of  the  ridiculous,  the  scene  closing  with  an  expres- 
sive declamation  by  Ford  ("  Do  I  dream  ?  Or,  is  it 
reality?").  The  second  scene  of  the  act  is  mainly 
devoted  to  the  ludicrous  incident  of  the  buck-basket, 
which  is  accompanied  by  most  remarkable  instru- 
mentation ;  but  there  are  one  or  more  captivating 
episodes  ;  such  as  Dame  Quickly's  description  of  her 
visit  ("Twas  at  the  Garter  Inn")  and  FalstafFs 
charming  song  ("  Once  I  was  Page  to  the  Duke  of 
Norfolk"). 

The  third  act  opens  in  the  Inn  of  the  Garter, 
and  discloses  Falstaff  soliloquizing  upon  his  late 
disagreeable  experiences :  — 

"Ho!  landlord! 

Ungrateful  world,  wicked  world, 
Guilty  world  ! 

Landlord  !  a  glass  of  hot  sherry. 
Go,  go  thy  way,  John  Falstaff, 
With  thee  will  cease  the  type 
Of  honesty,  virtue,  and  might." 

As   the   fat  Knight   soliloquizes   and  drinks  his 
18 


274 


STANDARD   OPERAS. 


sack  the  orchestra  takes  part  in  a  trill  given  out  by 
piccolo,  and  gradually  taken  by  one  instrument  after 
the  other,  until  the  whole  orchestra  is  in  a  hearty 
laugh  and  shaking  with  string,  brass,  and  wood  wind 
glee.  Then  enters  Dame  Quickly,  mischief-maker, 
and  sets  the  trap  at  Herne's  Oak  in  Windsor  Forest, 
into  which  Falstaff  readily  falls.  The  closing  scene 
is  rich  with  humor.  It  opens  with  a  delightful  love- 
song  by  Fenton  ("  From  those  sweet  lips  a  song  of 
love  arises").  The  conspirators  enter  one  after  the 
other,  and  at  last  Falstaff,  disguised  as  the  sable 
hunter.  The  elves  are  summoned,  and  glide  about  to 
the  delicious  fairy  music  accompanying  Nannetta's 
beautiful  song  ("While  we  dance  in  the  moon- 
light ").  From  this  point  the  action  hastens  to  the 
happy  denouement,  and  the  work  concludes  with 
a  fugue  which  is  imbued  with  the  very  spirit  of 
humor  and  yet  is  strictly  constructed.  While  the 
vocal  parts  are  extraordinary  in  their  declamatory 
significance,  the  strength  of  the  opera  lies  in  the 
instrumentation,  and  its  charm  in  the  delicious  fun 
and  merriment  which  pervades  it  all  and  is  aptly 
expressed  in  the  closing  lines :  — 

"All  in  this  world  is  jesting. 
Man  is  born  to  be  jolly, 
E'en  from  grief  some  happiness  wresting 
Sure  proof  against  melancholy." 


WAGNER. 

JICHARD  WAGNER,  who  has  been  some, 
what  ironically  called  the  musician  of  the 
future,  andwhose  music  has  been  relegated 
to  posterity  by  a  considerable  number  of 
his  contemporaries,  was  born  at  Leipsic,  May  22, 
1813.  After  his  preliminary  studies  in  Dresden  and 
Leipsic,  he  took  his  first  lessons  in  music  from  Can- 
tor Weinlig.  In  1836  he  was  appointed  musical 
director  in  the  theatre  at  Magdeburg,  and  later  oc- 
cupied the  same  position  at  Konigsberg.  Thence 
he  went  to  Riga,  where  he  began  his  opera  "  Rienzi." 
He  then  went  to  Paris  by  sea,  was  nearly  ship- 
wrecked on  his  way  thither,  and  landed  without 
money  or  friends.  After  two  years  of  hard  struggling 
he  returned  to  Germany.  His  shipwreck  and  for- 
lorn condition  inspired  the  theme  of  "  The  Flying 
Dutchman,"  and  while  on  his  way  to  Dresden  he 
passed  near  the  castle  of  Wartburg,  in  the  valley  of 
Thuringia,  whose  legends  inspired  his  well-known 
opera  of  "  Tannhauser."  He  next  removed  to 
Zurich,  and  about  this  time  appeared  "  Lohengrin," 


276  THE    STANDARD     OPERAS. 

one  of  his  most  favorite  operas.  "Tristan  and 
Isolde"  was  produced  in  1856,  and  his  comic  opera, 
"  Die  Meistersinger  von  Niirnberg,"  three  years 
later.  In  1864  he  received  the  patronage  of  King 
Louis  of  Bavaria,  which  enabled  him  to  complete  and 
perform  his  great  work,  "  Der  Ring  der  Nibelungen." 
He  laid  the  foundation  of  the  new  theatre  at  Baireuth 
in  1872,  and  in  1875  the  work  was  produced,  and 
created  a  profound  sensation  all  over  the  musical 
world.  "  Parsifal,"  his  last  opera,  was  first  performed 
in  1882.  His  works  have  aroused  great  opposition, 
especially  among  conservative  musicians,  for  the 
reason  that  he  has  set  at  defiance  the  conventional 
operatic  forms,  and  in  carrying  out  his  theory  of 
making  the  musical  and  dramatic  elements  of  equal 
importance,  and  employing  the  former  as  the  language 
of  the  latter  in  natural  ways,  has  made  musical  dec- 
lamation take  the  place  of  set  melody,  and  swept 
away  tlfe  customary  arias,  duets,  quartets,  and  con- 
certed numbers  of  the  Italian  school,  to  suit  the 
dramatic  exigencies  of  the  situations.  Besides  his 
musical  compositions,  he  enjoys  almost  equal  fame 
as  a  litterateur,  having  written  not  only  his  own 
librettos,  but  four  important  works,  —  "  Art  and  the 
Revolution,"  "The  Art  Work  of  the  Future," 
"  Opera  and  Drama,*'  and  "  Judaism  in  Music." 
His  music  has  made  steady  progress  through  the 
efforts  of  such  advocates  as  Liszt,  Von  Blilow,  and 
Richter  in  Germany,  Pasdeloup  in  France,  Hueffer 
in  England,  and  Theodore  Thomas  in  the  United 
States.  In  1870  he  married  Frau  Cosima  von 


RIENZI. 


277 


Billow,  the  daughter  of  Liszt, — an  event  which  pro-- 
voked  almost  as  much  comment  in  social  circles  as 
his  operas  have  in  musical.  He  died  during  a  visit 
to  Venice,  Feb.  13,  1883. 


"  Rienzi  der  letzte  der  Tribunen,"  a  tragic  opera 
in  five  acts,  words  by  the  composer,  the  subject 
taken  from  Bulwer's  novel,  "  The  Last  of  the  Trib- 
unes," was  first  produced  at  Dresden,  Oct.  20, 1842, 
with  Herr  Tichatscheck,  Mme.  Schroder-Devrient, 
and  Mile.  Wiest  in  the  principal  roles.  It  was  de- 
signed and  partly  completed  during  Wagner's  stay 
in  Riga  as  orchestra  leader.  In  his  Autobiography 
the  composer  says  that  he  first  read  the  story  at 
Dresden  in  1837,  and  was  greatly  impressed  with  its 
adaptability  for  opera.  He  began  it  in  the  fall 
of  the  same  year  at  Riga,  and  says:  "I  had  com- 
posed two  numbers  of  it,  when  I  found,  to  my  an- 
noyance, that  I  was  again  fairly  on  the  way  to  the 
composition  of  music  a  la  Adam.  I  put  the  work 
aside  in  disgust."  Later  he  projected  the  scheme 
of  a  great  tragic  opera  in  five  acts,  and  began 
upon  it  with  fresh  enthusiasm  in  the  fall  of  1838. 
By  the  spring  of  1839  the  first  two  acts  were  com- 
pleted. At  that  time  his  engagement  at  Riga  ter- 
minated, and  he  set  out  for  Paris.  He  soon  found 
that  it  would  be  hopeless  for  him  to  bring  out  the 
opera  in  that  city,  notwithstanding  Meyerbeer  had 


278  THE    STANDARD    OPERAS. 

promised  to  assist  him.  He  offered  it  to  the  Grand 
Opera  and  to  the  Renaissance,  but  neither  would 
accept  it.  Nothing  daunted,  he  resumed  work 
upon  it,  intending  it  for  Dresden.  In  October,  1 842, 
it  was  at  last  produced  in  that  city,  and  met  with 
such  success  that  it  secured  him  the  position  of 
capellmeister  at  the  Dresden  opera-house. 

The  action  of  the  opera  passes  at  Rome,  towards 
the  middle  of  the  fourteenth  century.  The  first  act 
opens  at  night,  in  a  street  near  the  Church  of  St. 
John  Lateran,  and  discovers  Orsini,  a  Roman  patri- 
cian, accompanied  by  a  crowd  of  nobles,  attempting 
tto  abduct  Irene,  the  sister  of  Rienzi,  a  papal  notary. 
The  plot  is  interrupted  by  the  entrance  of  Colonna, 
the  patrician  leader  of  another  faction,  who  demands 
the  girl.  A  quarrel  ensues.  Adriano,  the  son  of 
Colonna,  who  is  in  love  with  Irene,  suddenly  ap- 
pears and  rushes  to  her  defence.  Gradually  other 
patricians  and  plebeians  are  attracted  by  the  tumult, 
among  the  latter,  Rienzi.  When  he  becomes  aware 
of  the  insult  offered  his  sister,  he  takes  counsel  with 
the  Cardinal  Raimondo,  and  they  agree  to  rouse  the 
people  in  resistance  to  the  outrages  of  the  nobles. 
Adriano  is  placed  in  an  embarrassing  position,  —  his 
relationship  to  the  Colonnas  urging  him  to  join  the 
nobles,  and  his  love  for  Irene  impelling  him  with 
still  stronger  force  to  make  common  cause  with  the 
people.  He  finally  decides  to  follow  Rienzi,  just  as 
the  trumpets  are  heard  calling  the  people  to  arms 
and  Rienzi  clad  in  full  armor  makes  his  appearance 
to  lead  them. 


RIENZI. 


279 


The  struggle  is  a  short  one.  The  nobles  are  over- 
come, and  in  the  second  act  they  appear  at  the 
Capitol  to  acknowledge  their  submission  to  Rienzi : 
but  Adriano,  who  has  been  among  them,  warns 
Rienzi  that  they  have  plotted  to  kill  him.  Festal 
dances,  processions,  and  gladiatorial  combats  follow, 
in  the  midst  of  which  Orsini  rushes  at  Rienzi  and 
strikes  at  him  with  his  dagger.  Rienzi  is  saved  by 
a  steel  breastplate  under  his  robes.  The  nobles  are 
at  once  seized  and  condemned  to  death.  Adriano 
pleads  with  Rienzi  to  spare  his  father,  and  moved 
by  his  eloquence  he  renews  the  offer  of  pardon 
if  they  will  swear  submission.  They  take  the  oath 
only  to  violate  it.  The  people  rise  and  demand 
their  extermination.  Rienzi  once  more  draws  the 
sword,  and  Adriano  in  vain  appeals  to  him  to  avert 
the  slaughter.  He  is  again  successful,  and  on  his 
return  announces  to  Adriano  that  the  Colonnas  and 
Orsinis  are  no  more.  The  latter  warns  him  of  com- 
ing revenge,  and  the  act  closes  with  the  coronation 
of  Rienzi. 

The  fourth  act  opens  at  night  near  the  church. 
The  popular  tide  has  now  turned  against  Rienzi, 
upon  the  report  that  he  is  in  league  with  the  German 
Emperor  to  restore  the  pontiff.  A  festive  cortege 
approaches,  escorting  him  to  the  church.  The 
nobles  bar  his  way,  but  disperse  at  his  command ; 
whereupon  Adriano  rushes  at  him  with  drawn  dagger, 
but  the  blow  is  averted  as  he  hears  the  chant  of 
malediction  in  the  church,  and  sees  its  dignitaries 
placing  the  ban  of  excommunication  against  Rienzi 


280  THE    STANDARD    OPERAS. 

upon  its  doors.  He  hurries  to  Irene,  warns  her  that 
her  brother's  life  is  no  longer  safe,  and  urges  her 
to  fly  with  him.  She  repulses  him,  and  seeks  her 
brother,  to  share  his  dangers  or  die  with  him.  She 
finds  him  at  prayer  in  the  Capitol.  He  counsels 
her  to  accept  the  offer  of  Adriano  and  save  herself, 
but  she  repeats  her  determination  to  die  with  him. 
The  sounds  of  the  approaching  crowd  are  heard 
outside.  Rienzi  makes  a  last  appeal  to  them  from 
the  balcony,  but  the  infuriated  people  will  not  listen. 
They  set  fire  to  the  Capitol  with  their  torches,  and 
stone  Rienzi  and  Irene  through  the  windows.  As 
the  flames  spread  from  room  to  room  and  Adriano 
beholds  them  enveloping  the  devoted  pair,  he  throws 
away  his  sword,  rushes  into  the  burning  building,  and 
perishes  with  them. 

The  overture  of  "  Rienzi "  is  in  the  accepted  form, 
for  the  opera  was  written  before  Wagner  had  made 
his  new  departure  in  music,  and  takes  its  principal 
themes,  notably  Rienzi's  prayer  for  the  people  and 
the  finale  to  the  first  act,  from  the  body  of  the  work. 
The  general  style  of  the  whole  work  is  vigorous  and 
tumultuous.  The  first  act  opens  with  a  hurly-burly 
of  tumult  between  the  contending  factions  and  the 
people.  The  first  scene  contains  a  vigorous  aria 
for  the  hero  ("  ]>Vohl  an  so  mog  es  sein  "),  which 
leads  up  to  a  fiery  terzetto  ("  Adriano  du  ?  Wie  ein 
Colonna ! ")  between  Rienzi,  Irene,  and  Adriano, 
followed  by  an  intensely  passionate  scene  ("  Er  geht 
und  lasst  dich  meinem  Schutz  ")  between  the  last 
two.  The  finale  is  a  tumultuous  mass  of  sound, 


RIENZl.  28T 

through  which  are  heard  the  tones  of  trumpets  and 
cries  of  the  people.  It  opens  with  a  massive  double 
chorus  ("  Gegrusst,  gegrusst  "),  shouted  by  the  peo- 
ple on  the  one  side  and  the  monks  in  the  Lateran  on 
the  other,  accompanied  by  an  andante  movement 
on  the  organ.  It  is  interrupted  for  a  brief  space  by 
the  ringing  appeal  of  Rienzi  "  Erstehe,  hohe  Roma, 
neu,"  and  then  closes  with  an  energetic  andante, 
a  quartet  joining  the  choruses.  This  finale  is  clearly 
Italian  in  form,  and  much  to  Wagner's  subsequent 
disgust  was  described  by  Hanslick  as  a  mixture  of 
Donizetti  and  Meyerbeer,  and  a  clear  presage  of  the 
coming  Verdi. 

The  second  act  opens  with  a  stately  march,  in- 
troducing the  messengers  of  peace,  who  join  in  a 
chorus  of  greeting,  followed  by  a  second  chorus 
of  senators  and  the  tender  of  submission  made  by 
the  nobles.  A  terzetto  between  Adriano,  Orsini, 
and  Colonna,  set  off  against  a  chorus  of  the  nobles, 
leads  up  to  the  finale.  It  opens  with  a  joyful  cho- 
rus ("Erschallet  feier  Klange"),  followed  by  rapid 
dialogue  between  Orsini  and  Colonna  on  the  one 
hand  and  Adriano  and  Rienzi  on  the  other.  A 
long  and  elaborate  ballet  intervenes,  divided  into 
several  numbers,  —  an  Introduction,  Pyrrhic  Dance, 
Combat  of  Roman  Gladiators  and  Cavaliers,  and 
the  Dance  of  the  Apotheosis,  in  which  the  Goddess 
of  Peace  is  transformed  to  the  Goddess,  protector 
of  Rome.  The  scene  abruptly  changes,  and  the 
act  closes  with  a  great  ensemble  in  which  the 
defiance  of  the  conspirators,  the  tolling  of  bells, 


282  THE    STANDARD    OPERAS. 

the  chants  of  the  monks,  and  the  ferocious  outcries 
of  the  people  shouting  for  revenge  are  mingled  in 
strong  contrasts. 

The  third  act  is  full  of  tumult.  After  a  brief  pre- 
lude, amid  the  ringing  of  bells  and  cries  of  alarm, 
the  people  gather  and  denounce  the  treachery  of 
the  nobles,  leading  up  to  a  spirited  call  to  arms  by 
Rienzi  ("  Ihr  Romer,  auf  ").  The  people  respond 
in  furious  chorus,  and  as  the  sound  of  the  bells  and 
battle-cries  dies  away  Adriano  enters.  His  scene 
opens  with  a  prayer  ("  Gerechter  Gott ")  for  the 
aversion  of  carnage,  which  changes  to  an  agitated 
allegro  ("Wo  war  ich?")  as  he  hears  the  great 
bell  of  the  Capitol  tolling  the  signal  for  slaughter. 
The  finale  begins  with  a  massive  march,  as  the  bells 
and  sounds  of  alarm  are  heard  approaching  again, 
and  bands  of  citizens,  priests  and  monks,  the  high 
clergy,  senators  and  nobles,  pass  and  repass  in  quick 
succession,  at  last  followed  by  Rienzi,  which  is  the 
signal  for  the  great  battle-hymn,  "  Santo  spirito 
cavaliere,"  which  is  to  be  sung  with  great  fire  and 
energy,  accompanied  by  great  and  small  bells  ring- 
ing behind  the  scenes,  the  clash  of  swords  upon 
shields,  and  full  power  of  chorus  and  orchestra.  A 
dialogue  follows  between  Adriano  and  Rienzi,  and  then 
the  various  bands  disappear  singing  the  ritornelle  of 
the  hymn.  A  great  duet  ("  Lebwohl,  Irene  ")  en- 
sues between  Adriano  and  Irene,  which  in  its  gen- 
eral outlines  reminds  one  of  the  duet  between  Raoul 
and  Valentin  in  "  The  Huguenots."  At  its  con- 
clusion, after  a  prayer  by  the  chorus  of  women,  the 


RIENZI.  2g3 

battle  hymn  is  heard  again  in  the  distance,  gradually 
approaching,  and  the  act  closes  with  a  jubilee  chorus 
("Auf !  im  Triumpf  zum  Capitol"),  welcoming  the 
return  of  the  conquerors. 

The  fourth  act  is  short,  its  principal  numbers 
being  the  introduction,  terzetto  and  chorus  ("  Wer 
war's  der  euch  hierher  beschied?"),  and  the  finale, 
beginning  with  a  somewhat  sombre  march  of  the 
cortege  accompanying  Rienzi  to  the  church,  lead- 
ing to  the  details  of  the  conspiracy  scene,  and 
closing  with  the  malediction  of  the  monks,  "  Vae, 
vae  tibi  maledicto."  The  last  act  opens  with  an 
impressive  prayer  by  Rienzi  ("  Allmacht'ger  Vater  "), 
which  leads  to  a  tender  duet  ("  Verlasst  die  Kirche 
mich  ")  as  Irene  enters,  closing  with  a  passionate 
aria  by  Rienzi  ("  Ich  liebte  gliihend  ").  The  duel 
is  then  resumed,  and  leads  to  a  second  and  in- 
tensely passionate  duet  ("  Du  hier  Irene  !  ")  be- 
tween Adriano  and  Irene.  The  finale  is  brief,  but 
full  of  energy,  and  is  principally  choral.  The  d£- 
nouement  hurries,  and  the  tragedy  is  reached  amid 
a  tumultuous  outburst  of  voices  and  instruments. 
Unlike  Wagner's  other  operas,  in  "  Rienzi "  set 
melody  dominates,  and  the  orchestra,  as  in  the 
Italian  school,  furnishes  the  accompaniments.  We 
have  the  regular  overture,  aria,  duet,  trio,  and  con- 
certed finale  ;  but  after  "  Rienzi  "  we  shall  observe 
a  change,  at  last  becoming  so  radical  that  the  com- 
poser himself  threw  aside  his  first  opera  as  unworthy 
of  performance. 


284  THE    STANDARD    OPERAS. 


5The  JTljuttg  Ptttdjmatt. 

"  Der  Fliegende  Hollander,"  a  romantic  opera  i» 
three  acts,  words  by  the  composer,  the  subject  taken 
from  Heinrich  Heine's  version  of  the  legend,  was 
first  produced  at  Dresden,  Jan.  2,  1843,  w^tn  Mme. 
Schroder-Devrient  and  Herr  Wechter  in  the  two 
principal  roles.  It  was  also  produced  in  London  in 
1870  at  Drury  Lane  as  "  L'  Ollandose  dannato,"  by 
Signor  Arditi,  with  Mile.  Di  Murska,  Signors  Foli, 
Perotti,  and  Rinaldini,  and  Mr.  Santley  in  the  lead- 
ing parts;  in  1876,  by  Carl  Rosa  as  "The  Flying 
Dutchman,"  an  English  version;  and  again  in  1877 
as  "  II  Vascello  fantasma."  In  this  country  the 
opera  was  introduced  in  its  English  form  by  Miss 
Clara  Louise  Kellogg. 

Wagner  conceived  the  idea  of  writing  "  The  Fly- 
ing Dutchman"  during  the  storm  which  overtook 
him  on  his  voyage  from  Riga  to  Paris.  He  says 
in  his  Autobiography :  "  '  The  Flying  Dutchman,' 
whose  intimate  acquaintance  I  had  made  at  sea, 
continually  enchained  my  fancy.  I  had  become 
acquainted,  too,  with  Heinrich  Heine's  peculiar 
treatment  of  the  legend  in  one  portion  of  his 
'  Salon.'  Especially  the  treatment  of  the  delivery 
of  this  Ahasuerus  of  the  ocean  (taken  by  Heine 
from  a  Dutch  drama  of  the  same  title)  gave  me 
everything  ready  to  use  the  legend  as  the  libretto 
of  an  opera.  I  came  to  an  understanding  about  it 
with  Heine  himself,  drew  up  the  scheme,  and  gave 


THE  FLYING  DUTCHMAN:  2gs 

it  to  M.  Le'on  Fillet  [manager  of  the  Grand  Opera], 
with  the  proposition  that  he  should  have  a  French 
libretto  made  from  it  for  me."  Subsequently  M. 
Fillet  purchased  the  libretto  direct  from  Wagner, 
who  consented  to  the  transaction,  as  he  saw  no  op- 
portunity of  producing  the  opera  in  Paris.  It  was 
then  set  by  Dietsch  as  "  Le  Vaisseau  fantome,"  and 
brought  out  in  Paris  in  1842.  In  the  mean  time, 
not  discouraged  by  his  bad  fortune,  Wagner  set  to 
work,  wrote  the  German  verse,  and  completed  the 
opera  in  seven  weeks  for  Dresden,  where  it  was 
finally  performed,  as  already  stated.  Unlike  "  Ri- 
enzi,"  it  met  with  failure  both  in  Dresden  and 
Berlin ;  but  its  merits  were  recognized  by  Spohr, 
who  encouraged  him  to  persevere  in  the  course  he 
had  marked  out. 

The  plot  of  the  opera  is  very  simple.  A  Norwe- 
gian vessel,  commanded  by  Daland,  compelled  by 
stress  of  weather,  enters  a  port  not  far  from  her 
destination.  At  the  same  time  a  mysterious  vessel, 
with  red  sails  and  black  hull,  commanded  by  the 
wandering  Flying  Dutchman,  who  is  destined  to 
sail  the  seas  without  rest  until  he  finds  a  maiden 
who  will  be  faithful  until  death,  puts  into  the  same 
port.  The  two  captains  meet,  and  Daland  invites 
the  stranger  to  his  home.  The  two  at  last  progress 
so  rapidly  in  mutual  favor  that  a  marriage  is  agreed 
upon  between  the  stranger  and  Senta,  Daland's 
daughter.  The  latter  is  a  dreamy,  imaginative  girl, 
who,  though  she  has  an  accepted  lover,  Eric,  is  so 
fascinated  with  the  legend  of  the  stranger  that  she 


286      THE  STANDARD  OPERAS. 

becomes  convinced  she  is  destined  to  save  him 
from  perdition.  When  he  arrives  with  her  father 
she  recognizes  him  at  once,  and  vows  eternal  con- 
stancy to  him.  In  the  last  act,  however,  Eric  ap- 
pears and  reproaches  Senta  with  her  faithlessness. 
The  stranger  overhears  them,  and  concludes  that 
as  she  has  been  recreant  to  her  former  lover,  so  too 
she  will  be  untrue  to  him.  He  decides  to  leave 
her ;  for  if  he  should  remain,  her  penalty  would  be 
eternal  death.  As  his  mysterious  vessel  sails  away 
Senta  rushes  to  a  cliff,  and  crying  out  that  her  life 
will  be  the  price  of  his  release,  hurls  herself  into  the 
sea,  vowing  to  be  constant  to  him  even  in  death. 
The  phantom  vessel  sinks,  the  sea  grows  calm,  and 
in  the  distance  the  two  figures  are  seen  rising  in  the 
sunlight  never  to  be  parted. 

The  overture  characterizes  the  persons  and  situ- 
ations of  the  drama,  and  introduces  the  motives 
which  Wagner  ever  after  used  so  freely,  —  among 
them  the  curse  resting  upon  the  Dutchman,  the 
restless  motion  of  the  sea,  the  message  of  the  Angel 
of  Mercy  personified  in  Senta,  the  personification  of 
the  Dutchman,  and  the  song  of  Daland's  crew.  The 
first  act  opens  with  an  introduction  representing  a 
storm,  and  a  characteristic  sailors'  chorus,  followed 
by  an  exquisite  love-song  for  tenor  ("  Mit  Gewitter 
und  Sturm  "),  and  a  grand  scena  of  the  Dutchman 
("  Die  Frist  ist  um  "),  which  lead  up  to  a  melodi- 
ous duet  between  the  Dutchman  and  Daland.  The 
act  closes  with  the  sailors'  chorus  as  the  two  vessels 
sail  away. 


THE    FLYING  DUTCHMAN:  z8 

After  a  brief  instrumental  prelude,  the  second  act 
opens  in  Daland's  home,  where  the  melancholy  Senta 
sits  surrounded  by  her  companions,  who  are  spin- 
ning. To  the  whirring  accompaniment  of  the  vio- 
lins they  sing  a  very  realistic  spinning  song  ("  Summ' 
und  brumm  du  gutes  Madchen  "),  interrupted  at 
intervals  by  the  laughter  of  the  girls  as  they  rally 
Senta  upon  her  melancholy  looks.  Senta  replies 
with  a  weird  and  exquisitely  melodious  ballad  ("  Jo- 
hohae  !  trafft  ihr  das  Schiff  im  Meere  an  "),  in  which 
she  tells  the  story  of  the  Flying  Dutchman,  and  an- 
ticipates her  own  destiny.  The  song  is  full  of  in- 
tense feeling,  and  is  characterized  by  a  motive  which 
frequently  recurs  in  the  opera,  and  is  the  key  to 
the  whole  work.  A  duet  follows  between  Eric  and 
Senta,  the  melodious  character  of  which  shows  that 
Wagner  was  not  yet  entirely  freed  from  Italian  in- 
fluences. A  short  duet  ensues  between  Senta  and 
her  father,  and  then  the  Dutchman  appears.  As 
they  stand  and  gaze  at  each  other  for  a  long  time, 
the  orchestra  meanwhile  supplying  the  supposed 
emotions  of  each,  we  have  a  clew  to  the  method 
Wagner  was  afterwards  to  employ  so  successfully. 
A  duet  between  Senta  and  the  Dutchman  ("  Wie 
aus  der  Feme  ")  and  a  terzetto  with  Daland  close 
the  act. 

The  third  act  opens  with  another  sailors'  chorus 
("  Steuermann,  lass'  die  Wacht "),  and  a  brisk  dia- 
logue between  them  and  the  women  who  are  bring- 
ing them  provisions.  The  latter  also  hail  the  crew 
of  the  Dutchman's  vessel,  but  get  no  reply  until  the 


2  38  THE    STANDARD    OPERAS. 

wind  suddenly  rises,  when  they  man  the  vessel  and 
sing  the  refrain  with  which  the  Dutchman  is  con- 
tinually identified.  A  double  chorus  of  the  two 
crews  follows.  Senta  then  appears  accompanied 
by  Eric,  who  seeks  to  restrain  her  from  following 
the  stranger  in  a  very  dramatic  duet  ("  Was  muss 
ich  horen?").  The  finale  is  made  up  of  sailors' 
and  female  choruses,  and  a  trio  between  Senta, 
Daland,  and  the  Dutchman,  which  are  woven  to- 
gether with  consummate  skill,  and  make  a  very 
effective  termination  to  the  weird  story.  There  are 
no  points  in  common  between  "  The  Flying  Dutch- 
man "  and  "  Rienzi,"  except  that  in  the  former 
Wagner  had  not  yet  clearly  freed  himself  from  con- 
ventional melody.  It  is  interesting  as  marking  his 
first  step  towards  the  music  of  the  future  in  his  use 
of  motives,  his  wonderful  treatment  of  the  orchestra 
in  enforcing  the  expression  of  the  text,  and  his 
combination  of  the  voices  and  instrumentation  in 
what  he  so  aptly  calls  "The  Music-Drama." 


auger. 

"  Tannhauser  und  der  S'ingerkrieg  auf  Wartburg  " 
("  Tannhauser  and  the  singers'  contest  at  the  Wart- 
burg"),  a  romantic  opera  in  three  acts,  words  by 
the  composer,  was  first  produced  jit  the  Royal  Op- 
era, Dresden,  Oct.  20,  1845,  witn  Mme.  Schroder- 
Devrient  and  Herr  Niemann  as  Elizabeth  and 
Tannhauser.  Its  first  performance  in  Paris  was 


TANNHAUSER.  289 

on  March  13,  1861 ;  but  it  was  a  failure  after  three 
representations,  and  was  made  the  butt  of  Parisian 
ridicule,  even  Berlioz  joining  in  the  tirade.  In 
England  it  was  brought  out  in  Italian  at  Covent 
Garden,  May  6,  1876,  though  its  overture  was 
played  by  the  London  Philharmonic  orchestra  in 
I855,  Wagner  himself  leading. 

In  the  spring  of  1842  Wagner  returned  from 
Paris  to  Germany,  and  on  his  way  to  Dresden  vis- 
ited the  castle  of  Wartburg,  in  the  Thuringian  Val- 
ley, where  he  first  conceived  the  idea  of  writing 
"  Tannhauser."  The  plot  was  taken  from  an  old 
German  tradition,  which  centres  about  the  castle 
where  the  landgraves  of  the  thirteenth  century  in- 
stituted peaceful  contests  between  the  Minnesingers 
and  knightly  poets.  Near  this  castle  towers  the 
Venusberg,  a  dreary  elevation,  which,  according  to 
popular  tradition,  was  inhabited  by  Holda,  the  god- 
dess of  Spring.  Proscribed  by  Christianity,  she  took 
refuge  in  its  caverns,  where  she  was  afterwards  con- 
founded with  the  Grecian  Venus.  Her  court  was 
filled  with  nymphs  and  sirens,  who  enticed  those 
whose  impure  desires  led  them  to  its  vicinity,  and 
lured  them  into  the  caverns,  from  which  they  were 
supposed  never  to  return.  The  first  act  opens  in 
this  court,  and  reveals  Tannhauser,  the  knight  and 
minstrel,  under  the  sway  of  Venus.  In  spite  of  her 
fascinations  he  succeeds  in  tearing  himself  away, 
and  we  next  find  him  at  the  castle  of  Wartburg,  the 
home  of  Hermann  the  Landgrave,  whose  daughter 
Elizabeth  is  in  love  with  him.  At  the  minstrel 
19 


290  THE    STANDARD    OPERAS. 

contest  he  enters  into  the  lists  with  the  other  Min- 
nesingers, and,  impelled  by  a  reckless  audacity  and 
the  subtle  influence  of  Venus,  sings  of  the  attrac- 
tions of  sensual  pleasures.  Walter,  of  the  Vogel- 
weide,  replies  with  a  song  to  virtue.  Tannhausei 
breaks  out  in  renewed  sensual  strains,  and  a  quarrel 
ensues.  The  knights  rush  upon  him  with  their 
swords,  but  Elizabeth  interposes  and  saves  his  life. 
He  expresses  his  penitence,  makes  a  pilgrimage  to 
Rome  and  confesses  to  the  Pope,  who  replies  that, 
having  tasted  the  pleasures  of  hell,  he  is  forever 
damned,  and,  raising  his  crosier,  adds :  "  Even  as 
this  wood  cannot  blossom  again,  so  there  is  no  par- 
don for  thee."  Elizabeth  prays  for  him  in  her  soli- 
tude, but  her  prayers  apparently  are  of  no  availX 
At  last  he  returns  dejected  and  hopeless,  and  in 
his  wanderings  meets  Wolfram,  another  minstrel, 
also  in  love  with  Elizabeth,  to  whom  he  tells  the 
sad  story  of  his  pilgrimage.  He  determines  to  re- 
turn to  the  Venusberg.  He  hears  the  voices  of  the 
sirens  luring  him  back.  Wolfram  seeks  to  detain 
him,  but  is  powerless  until  he  mentions  the  name 
of  Elizabeth,  when  the  sirens  vanish  and  their  spells 
lose  their  attraction.  A  funeral  procession  ap- 
proaches in  the  distance,  and  on  the  bier  is  the 
form  of  the  saintly  Elizabeth.  He  sinks  down  upon 
the  coffin  and  dies.  As  his  spirit  passes  away  his 
pilgrim's  staff  miraculously  bursts  out  into  leaf  and 
blossom,  showing  that  his  sins  have  been  forgiven. 

The  overture  to  the  opera  is  well  known  by  its 
frequent  performances   as   a   concert  number.      It 


TANNHAUSER. 


291 


begins  with  the  pilgrim's  song,  which,  as  it  dies 
away,  is  succeeded  by  the  seductive  spells  of  the 
Venusberg  and  the  voices  of  the  sirens  calling  to 
Tannhauser.  As  the  whirring  sounds  grow  fainter 
and  fainter,  the  pilgrim's  song  is  again  heard  gradu- 
ally approaching,  and  at  last  closing  the  overture  in 
a  joyous  burst  of  harmony.  The  first  act  opens 
with  the  scene  in  the  Venusberg,  accompanied  by 
the  Bacchanale  music,  which  was  written  in  Paris 
by  Wagner  after  the  opera  was  finished  and  had 
been  performed.  It  is  now  known  as  "  the  Pari- 
sian Bacchanale."  It  is  followed  by  a  voluptuous 
scene  between  Tannhauser  and  Venus,  a  long  dia- 
logue, during  which  the  hero,  seizing  his  harp, 
trolls  out  a  song  ("Doch  sterblich,  ach !  "),  the 
theme  of  which  has  already  been  given  out  by  the 
overture,  expressing  his  weariness  of  her  compan- 
ionship. The  second  scene  transports  us  to  a  val- 
ley, above  which  towers  the  castle  of  Wartburg.  A 
young  shepherd,  perched  upon  a  rock,  sings  a  pas- 
toral invocation  to  Holda  ("  Frau  Holda  kam  aus 
dem  Berg  hervor"),  the  strains  of  his  pipe  (an 
oboe  obligate)  weaving  about  the  stately  chorus  of 
the  elder  pilgrims  ("Zu  dir  wall'  ich,  mein  Herr 
und  Gott")  as  they  come  along  the  mountain 
paths  from  the  castle.  The  scene,  which  is  one  of 
great  beauty,  closes  with  the  lament  of  Tannhauser 
("  Ach  !  schwer  driickt  mich  der  Stinden  Last "), 
intermingled  with  the  receding  song  of  the  pilgrims, 
the  ringing  of  church-bells  in  the  distance,  and 
the  merry  notes  of  hunters'  horns  as  the  Landgrave 


2Q2 


THE    STANDARD    OPERAS. 


and  his  followers  approach.  The  meeting  with 
Tannhauscr  leads  to  an  expressive  septet,  in  which 
Wolfram  has  a  very  impressive  solo  ("Als  du  in 
kiihnem  Sange  "). 

The  second  act  opens  in  the  singers'  hall  of  the 
Wartburg.  Elizabeth,  entering  joyfully,  greets  it 
in  a  recitation  ("  Froh  griiss  ich  dich,  geliebter 
Raum"),  if  we  may  so  term  it,  which  is  charac- 
terized by  a  joyous  but  dignified  dramatic  appeal, 
recalling  the  scenes  of  her  youth.  The  interview 
between  Tannhauser  and  Elizabeth,  which  follows, 
gives  rise  to  a  long  dialogue,  closing  with  a  union 
of  the  two  voices  in  the  charming  duet,  "  Gepriesen 
sei  die  Macht."  Then  follows  the  grand  march  and 
chorus,  "  Freudig  begriissen  wir  die  edle  Halle," 
announcing  the  beginning  of  the  song  contest. 
The  stirring  rhythm  and  bold,  broad  outlines  of 
this  march  are  so  well  known  that  it  is  needless  to 
dwell  upon  it.  The  scene  of  the  contest  is  de- 
clamatory throughout,  and  full  of  animation  and 
spirit;  its  most  salient  points  being  the  hymn  of 
Wolfram  ("  O  Himmel  lasst  dich  jetzt  erflehen  ") 
in  honor  of  ideal  love,  and  Elizabeth's  appeal  to 
the  knights  to  spare  Tannhauser  ("  Zuriick  von 
ihm"),  which  leads  up  to  a  spirited  septet  and 
choral  ensemble  closing  the  act. 

In  the  third  act  we  are  once  more  in  the  val- 
ley of  the  Wartburg.  After  a  plaintive  song  by 
Wolfram  ("  Wohl  wusst'  ich  hier  sie  im  Gebet  zu 
finden"),  the  chorus  of  the  returning  pilgrims  is 
heard  in  the  distance,  working  up  to  a  magnificent 


LOHENGRIN. 


293 


crescendo  as  they  approach  and  cross  the  stage. 
Elizabeth,  who  has  been  earnestly  watching  them 
to  find  if  Tannhauser  be  of  their  number,  dis- 
appointed, sinks  upon  her  knees  and  sings  the 
touching  prayer,  "  Allmacht'ge  Jungfrau,  hor  mein 
Flehen."  As  she  leaves  the  scene,  Wolfram  takes 
his  harp  and  sings  the  enchanting  fantasy  to  the 
evening  star,  "  O,  du  mein  holder  Abendstern,"  — 
a  love-song  to  the  saintly  Elizabeth.  Tannhauser 
makes  his  appearance.  A  long  declamatory  dia- 
logue ensues  between  himself  and  Wolfram,  in 
which  he  recites  the  story  of  his  pilgrimage.  The 
scene  is  one  of  extraordinary  power,  and  calls  for 
the  highest  vocal  and  dramatic  qualities  in  order  to 
make  it  effective.  From  this  point  on,  the  tragedy 
hastens.  There  is  the  struggle  once  more  with  the 
sirens,  and  amid  Wolfram's  touching  appeals  and 
Tannhiiuser's  exclamations  is  heard  the  enticement 
of  the  Venus  music.  But  at  the  name  "  Elizabeth  " 
it  dies  away.  The  mists  grow  denser  as  the  magic 
crew  disappears,  and  through  them  is  seen  a  light 
upon  the  Wartburg.  The  tolling  of  bells  and  the 
songs  of  mourners  are  heard  as  the  cortege  ap- 
proaches. As  Tannhauser  dies,  the  pilgrims'  cho- 
rus again  rises  in  ecstasy,  closing  with  a  mighty 
shout  of  "  Hallelujah  !  "  and  the  curtain  falls. 


"  Lohengrin,"  a  romantic  opera   in   three  acts, 
words   by   the    composer,   was   first  produced    at 


294      THE  STANDARD  OPERAS. 

Weimar,  Aug.  28,  1850,  the  anniversary  of  Goethe's 
birthday,  under  the  direction  of  Franz  Liszt,  and 
with  the  following  cast  of  the  leading  parts :  — 

LOHENGRIN Herr  BECK. 

TELRAMUND Herr  MILDE. 

KING Herr  HOFER. 

ELSA       Frau  AGATHE. 

ORTRUD Fralilein  FASTLINGER. 

"  Lohengrin  "  was  begun  in  Paris,  and  finished  in 
Switzerland  during  the  period  in  which  Wagner  was 
director  of  the  musical  society  as  well  as  of  the 
orchestra  at  the  city  theatre  of  Zurich,  whither  he 
had  fled  to  escape  the  penalties  for  taking  part  in 
the  political  agitations  and  subsequent  insurrection 
of  1849.  Though  it  manifests  a  still  further  ad- 
vancement in  the  development  of  his  system,  it  was 
far  from  being  composed  according  to  the  abstract 
rules  he  had  laid  down.  He  says  explicitly  on  this 
point,  in  his  "  Music  of  the  Future  :  "  "  The  first 
three  of  these  poems  —  'The  Flying  Dutchman,' 
'  Tannhauser,'  and  'Lohengrin'  —  were  written  by 
me,  their  music  composed,  and  all  (with  the  ex- 
ception of  '  Lohengrin  ')  performed  upon  the  stage, 
before  the  composition  of  my  theoretical  writings." 

The  story  of  Lohengrin,  the  son  of  Parsifal,  upon 
which  Wagner  has  based  his  drama,  is  taken  from 
many  sources,  the  old  Celtic  legend  of  King  Arthur, 
his  knights,  and  the  Holy  Grail  being  mixed  with 
the  distinctively  German  legend  of  a  knight  who 
arrives  in  his  boat  drawn  by  a  swan.  The  version 
used  by  Wagner  is  supposed  to  be  told  by  Wolfram 


LOHENGRIN.  2g5 

von  Eschenbach,  the  Minnesinger,  at  one  of  the 
Wartburg  contests,  and  is  in  substance  as  follows : 
Henry  I.,  King  of  Germany,  known  as  "  the  Fowler," 
arrives  at  Antwerp  for  the  purpose  of  raising  a  force 
to  help  him  expel  the  Hungarians,  who  are  threat- 
ening his  dominions.  He  finds  Brabant  in  a  con- 
dition of  anarchy.  Gottfried,  the  young  son  of  the 
late  Duke,  has  mysteriously  disappeared,  and  Tel- 
ramund,  the  husband  of  Ortrud,  daughter  of  the 
Prince  of  Friesland,  claims  the  dukedom.  The 
claimant  openly  charges  Elsa,  sister  of  Gottfried, 
with  having  murdered  him  to  obtain  the  sovereignty, 
and  she  is  summoned  before  the  King  to  submit 
her  cause  to  the  ordeal  of  battle  between  Telramund 
and  any  knight  whom  she  may  name.  She  de- 
scribes a  champion  whom  she  has  seen  in  a  vision, 
and  conjures  him  to  appear  in  her  behalf..  After  a 
triple  summons  by  the  heralds,  he  is  seen  approach- 
ing on  the  Scheldt,  in  a  boat  drawn  by  a  swan. 
Before  the  combat  Lohengrin  betroths  himself  to 
Elsa,  naming  only  the  condition  that  she  shall  never 
question  him  as  to  his  name  or  race.  She  assents, 
and  the  combat  results  in  Telramund's  defeat  and 
public  disgrace. 

In  the  second  act  occur  the  bridal  ceremonies, 
prior  to  which,  moved  by  Ortrud's  entreaties,  Elsa 
promises  to  obtain  a  reprieve  for  Telramund  from 
the  sentence  which  has  been  pronounced  against 
him.  At  the  same  time  Ortrud  takes  advantage  of 
her  success  to  instil  doubts  into  Elsa's  mind  as  to 
her  future  happiness  and  the  faithfulness  of  Lohcn- 


2 96  THE    STANDARD    OPERAS. 

grin.  In  the  next  scene,  as  the  bridal  cortege  is 
about  to  enter  the  minster,  Ortrud  claims  the  right 
of  precedence  by  virtue  of  her  rank,  and  Telramund 
publicly  accuses  Lohengrin  of  sorcery.  The  faith  of 
Elsa,  however,  is  not  shaken.  The  two  conspirators 
are  ordered  to  stand  aside,  the  train  enters  the 
church,  and  Elsa  and  Lohengrin  are  united. 

The  third  act  opens  in  the  bridal  chamber.  The 
seeds  of  curiosity  and  distrust  which  Ortrud  has 
sown  in  Elsa's  mind  have  ripened,  and  in  spite  of 
her  conviction  that  it  will  end  her  happiness,  she 
questions  Lohengrin  with  increasing  vehemence,  at 
last  openly  demanding  to  know  his  secret.  At  this 
juncture  Telramund  breaks  into  the  apartment  with 
four  followers,  intending  to  take  the  life  of  Lohen- 
grin. A  single  blow  of  the  knight's  sword  stretches 
him  lifeless.  He  then  places  Elsa  in  the  charge  of 
her  ladies  and  orders  them  to  take  her  to  the  pres- 
ence of  the  King,  whither  he  also  repairs.  Com- 
pelled by  his  wife's  unfortunate  rashness,  he  discloses 
himself  as  the  son  of  Parsifal,  Knight  of  the  Holy 
Grail,  and  announces  that  he  must  now  return  to  its 
guardianship.  His  swan  once  more  appears,  and 
as  he  steps  into  the  boat  he  bids  Elsa  an  eternal 
farewell.  Before  he  sails  away,  however,  Ortrud 
declares  to  the  wondering  crowd  that  the  swan  is 
Elsa's  brother,  who  has  been  bewitched  by  herself 
into  this  form,  and  would  have  been  released  but 
for  Elsa's  curiosity.  Lohengrin  at  once  disenchants 
the  swan,  and  Gottfried  appears  and  rushes  into  his 
sister's  arms.  A  white  dove  flies  through  the  air 


LOHENGRIN.  297 

and  takes  the  place  of  the  swan,  and  Lohengrin 
sails  away  as  Elsa  dies  in  the  embrace  of  her  newly 
found  brother. 

The  Vorspiel,  or  prelude,  to  the  opera  takes  for 
its  subject  the  descent  of  the  Holy  Grail,  the  mys- 
terious symbol  of  the  Christian  faith,  and  the  Grail 
motive  is  the  key  to  the  whole  work.  The  delicious 
harmonies  which  accompany  its  descent  increase 
in  warmth  and  power  until  the  sacred  mystery  is 
revealed  to  human  eyes,  and  then  die  away  to  a 
pianissimo,  and  gradually  disappear  as  the  angels 
bearing  the  holy  vessel  return  to  their  celestial 
abode.  The  curtain  rises  upon  a  meadow  on  the 
banks  of  the  Scheldt,  showing  King  Henry  sur- 
rounded by  his  vassals  and  retainers.  After  their 
choral  declaration  of  allegiance,  Telramund,  in  a 
long  declamatory  scena  of  great  power  ("  Zum 
Sterben  kam  der  Herzog  von  Brabant "),  tells  the 
story  of  the  troubles  in  Brabant,  and  impeaches 
Elsa.  At  the  King's  command,  Elsa  appears,  and 
in  a  melodious  utterance  of  extreme  simplicity 
and  sweetness,  which  is  called  the  dream  motive 
("  Einsam  in  triiben  Tagen  "),  relates  the  vision  of 
the  knight  who  is  to  come  to  her  assistance.  The 
summons  of  the  heralds  preludes  the  climax  of  the 
act.  Amid  natural  outcries  of  popular  wonder- 
ment Lohengrin  appears,  and,  as  he  leaves  his 
boat,  bids  farewell  to  his  swan  in  a  strain  of  delicate 
beauty  ("  Nun  sci  gedankt,  mein  liebcr  Schwan  "). 
The  preparations  for  the  combat  are  made,  but 
before  it  begins,  the  motive  of  warning  is  sounded 


298 


THE   STANDARD    OPERAS. 


by  Lohengrin  ("Nie  sollst  du  mich  befragen"). 
The  finale  of  the  act  takes  the  form  of  a  powerful 
ensemble,  composed  of  sextet  and  chorus,  and  be- 
ginning with  the  prayer  of  the  King,  "  Mein  Herr 
und  Gott,  nun  ruf  ich  Dich." 

The  second  act  opens  upon  a  night  scene  near 
the  palace,  which  is  merry  with  the  wedding  fes- 
tivities, while  the  discomfited  Telramund  and  Or- 
trud  are  plotting  their  conspiracy  without  in  a  long 
duet  ("  Erhebe  dich,  Genossin  meiner  Schmach  "), 
which  introduces  new  motives  of  hatred  and  re- 
venge, as  opposed  to  the  Grail  motive.  In  the  sec- 
ond scene  Elsa  appears  upon  the  balcony  and 
sings  a  love-song  ("  Euch  Liiften,  die  mein  Kla- 
gen  "),  whose  tenderness  and  confidence  are  in 
marked  contrast  with  the  doubts  sown  in  her  mind 
by  Ortrud  before  the  scene  closes.  The  third 
scene  is  preluded  with  descriptive  sunrise  music  by 
the  orchestra,  followed  by  the  herald's  proclama- 
tions, interspersed  by  choral  responses,  leading  up 
to  the  bridal-procession  music  as  the  train  moves  on 
from  the  palace  to  the  cathedral,  accompanied  by  a 
stately  march  and  choral  strains,  and  all  the  artistic 
surroundings  of  a  beautiful  stage  pageant.  The 
progress  is  twice  interrupted  ;  first  by  Ortrud,  who 
asserts  her  precedence,  and  second  by  Telramund, 
who,  in  the  scena  "  Den  doit  im  Glanz,"  accuses 
Lohengrin  of  sorcery.  When  Elsa  still  expresses 
her  faith,  the  train  moves  on,  and  reaches  its 
destination  amid  the  acclamations  of  the  chorus 
<"  Heil,  Elsa  von  Brabant !  "). 


TRISTAN  AND  ISOLDE.  299 

The  third  act  opens  in  the  bridal  chamber  with 
the  graceful  bridal  song  by  Elsa's  ladies,  "  Treulich 
gefuhrt,  ziehet  dahin,"  whose  melodious  strains 
have  accompanied  many  unions,  the  world  over, 
besides  those  of  Elsa  and  Lohengrin.  The  second 
scene  is  an  exquisite  picture  of  the  mutual  outpour- 
ing of  love,  at  first  full  of  beauty  and  tenderness, 
but  gradually  darkening  as  Ortrud's  insinuations 
produce  their  effect  in  Elsa's  mind.  Tenderly  Lo- 
hengrin appeals  to  her,  but  in  vain  ;  and  at  last  the 
motive  of  warning  is  heard.  The  fatal  questions 
are  asked,  the  tragedy  of  Telramund  follows,  and 
all  is  over.  The  last  scene  introduces  us  once 
more  to  the  meadow  on  the  Scheldt,  where  Lohen- 
grin appears  before  the  King  and  his  vassals.  In 
their  presence  he  reveals  himself  as  the  son  of  Par- 
sifal, in  a  scena  of  consummate  power  ("  In  fernem 
Land,  unnahbar  euren  Schritten "),  wherein  the 
Grail  motive  reaches  its  fullest  development.  It  is 
followed  by  his  touching  farewell,  "  O  Elsa  !  nur 
ein  Jahr  an  deiner  Seite,"  the  melody  of  which  can 
hardly  be  surpassed  in  dignity  and  impressiveness. 
The  denouement  now  hastens,  and  Lohengrin 
disappears,  to  the  accompaniment  of  the  Grail 
motive. 

STrtetatt  ant)  BolDe. 

"Tristan  und  Isolde,"  an  opera  in  three  acts, 
words  by  the  composer,  was  first  produced  at  Munich, 
June  10,  1865,  under  the  direction  of  Hans  von 
Billow,  with  the  following  cast  of  characters  :  — 


300  THE    STANDARD    OPERAS. 

TRISTAN     .    Herr  LUDWIG  SCHNORR  VON  CAROLSFELD. 

KURWENAL     Herr  MITTERWURZER. 

KING  MARK   Herr  ZOTTMAYER. 

ISOLDE  .    .    Mine.  SCHNORR  VON  CAROLSFELD. 

BRANGOENA    Mile.  DEINET. 

"Tristan  and  Isolde  "  was  commenced  in  1857 
and  finished  in  1859,  during  the  period  in  which 
Wagner  was  engaged  upon  his  colossal  work,  "  The 
Ring  of  the  Nibelung."  As  early  as  the  middle 
of  1852  he  had  finished  the  four  dramatic  poems 
which  comprise  the  cyclus  of  the  latter,  and  dur- 
ing the  next  three  years  he  finished  the  music  to 
"Das  Rheingold"  and  "Die  Walkure."  In  one  of 
his  letters  he  says:  "In  the  summer  of  1857  I 
determined  to  interrupt  the  execution  of  my  work 
on  the  Nibelungen  and  begin  something  shorter, 
which  should  renew  my  connection  with  the  stage." 
The  legend  of  Tristan  was  selected.  It  is  derived 
from  the  old  Celtic  story  of  "  Tristram  and  Iseult," 
the  version  adopted  by  Wagner  being  that  of  Gott- 
fried of  Strasburg,  a  bard  of  the  thirteenth  century, 
though  it  must  be  said  he  uses  it  in  his  own  manner, 
and  at  times  widely  departs  both  from  the  original 
and  the  mediaeval  poem. 

In  "  Tristan  and  Isolde "  Wagner  broke  com- 
pletely loose  from  all  the  conventional  forms  of 
opera.  It  has  nothing  in  common  with  the  old 
style  of  lyric  entertainment.  As  Hueffer  says,  in 
his  recent  Life  of  Wagner  :  "  Here  is  heard  for  the 
first  time  the  unimpaired  language  of  dramatic  pas- 
sion intensified  by  an  uninterrupted  flow  of  expres- 


TRISTAN  AND  ISOLDE.  301 

sive  melody.  Here  also  the  orchestra  obtains  that 
wide  range  of  emotional  expression  which  enables 
it,  like  the  chorus  of  the  antique  tragedy,  to  discharge 
the  dialogue  of  an  overplus  of  lyrical  elements  with- 
out weakening  the  intensity  of  the  situation,  which 
it  accompanies  like  an  unceasing  passionate  under- 
current." In  an  opera  like  this,  which  is  intended 
to  commingle  dramatic  action,  intensity  of  verse,  and 
the  power  and  charm  of  the  music  in  one  homo- 
geneous whole,  the  reader  will  at  once  observe  the 
difficulty  of  doing  much  more  than  the  telling  of  its 
story,  leaving  the  musical  declamation  and  effects  to 
be  inferred  from  the  text.  Even  Wagner  himself 
in  the  original  title  is  careful  to  designate  the  work 
"Ein  Handlung"  (an  action). 

The  vorspiel  to  the  drama  is  based  upon  a  single 
motive,  which  is  worked  up  with  consummate  skill 
into  various  melodic  forms,  and  frequently  appears 
throughout  the  work.  It  might  well  be  termed  the 
native  of  restless,  irresistible  passion.  The  drama 
opens  on  board  a  ship  in  which  the  Cornish  knight, 
Tristan,  is  bearing  Isolde,  the  unwilling  Irish  bride, 
to  King  Mark  of  Cornwall.  As  the  vessel  is  near- 
ing  the  land,  Isolde  sends  Brangoena  to  the  Knight, 
\vho  is  also  in  love  with  her,  but  holds  himself  aloof 
by  reason  of  a  blood-feud,  and  orders  him  to  appear 
at  her  side.  His  refusal  turns  Isolde's  affection  to 
bitterness,  and  she  resolves  that  he  shall  die,  and  that 
she  will  share  death  with  him.  She  once  more  calls 
Tristan,  and  tells  him  that  the  time  has  come  for  him 
to  make  atonement  for  slaying  her  kinsman,  Morold. 


302      THE  STANDARD  OPERAS. 

She  directs  Brangoena  to  mix  a  death-potion  and 
invites  him  to  drink  with  her,  but  without  her  knowl- 
edge Brangoena  has  prepared  a  love-potion,  which 
inflames  their  passions  beyond  power  of  restraint. 
Oblivious  of  the  landing,  the  approach  of  the  royal 
train,  and  all  that  is  going  on  about  them,  they  re- 
main folded  in  mutual  embrace. 

The  second  act  opens  in  Cornwall,  in  a  garden 
which  leads  to  Isolde's  chamber,  she  being  already 
wedded  to  King  Mark.  With  Brangoena  she  is 
waiting  for  Tristan.  The  King  goes  out  upon  a 
night  hunt,  and  no  sooner  has  he  disappeared  than 
Isolde  gives  the  signal  for  his  approach,  while  Bran- 
goena goes  to  her  station  to  watch.  The  second 
scene  is  a  most  elaborate  love-duet  between  the 
guilty  pair,  the  two  voices  at  first  joining  ("  Bist  du 
mein?  Hab'  ich  dich  wieder?  ").  A  passionate  dia- 
logue ensues,  and  then  the  two  voices  join  again 
("  O  sink'  hernieder,  Nacht  der  Liebe  ").  After  a 
brief  dialogue  Brangoena's  warning  voice  is  heard. 
Absorbed  in  each  other,  they  pay  no  heed,  and  once 
more  they  join  in  the  very  ecstasy  of  passion,  so  far 
as  it  can  be  given  musical  form,  in  the  finale  of  the 
duet,  "  O  siissc  Nacht !  Ew'ge  Nacht !  Hehr  erhabne 
Liebes-Nacht."  The  treachery  of  Sir  Melot,  Tris- 
tan's pretended  friend,  betrays  the  lovers  to  the 
King.  Tristan  offers  no  explanations,  but  touched 
by  the  King's  bitter  reproaches  provokes  Sir  Melot 
to  combat  and  allows  himself  to  be  mortally 
wounded. 

The  third  act  opens  in  Brittany,  whither  Kurwenal, 


THE  MASTERSINGERS.  303 

Tristan's  faithful  henchman,  has  taken  him.  A  shep- 
herd lad  watches  from  a  neighboring  height  to  an- 
nounce the  appearance  of  a  vessel,  for  Kurwenal  has 
sent  for  Isolde  to  heal  his  master's  wound.  At  last 
the  stirring  strains  of  the  shepherd's  pipe  signal  her 
coming.  In  his  delirious  joy  Tristan  tears  the 
bandages  from  his  wounds,  and  has  only  strength 
enough  left  to  call  Isolde  by  name  and  die  in  her 
arms.  Now  a  second  vessel  is  seen  approaching, 
bearing  King  Mark  and  his  men.  Thinking  that 
his  design  is  hostile,  Kurwenal  attempts  to  defend 
the  castle,  but  is  soon  forced  to  yield,  and  dies  at  the 
feet  of  his  master.  The  King  exclaims  against  his 
rashness,  for  since  he  had  heard  Brangoena's  story 
of  the  love-potion  he  had  come  to  give  his  consent 
to  the  union  of  the  lovers.  Isolde,  transfigured  with 
grief,  sings  her  last  farewell  to  her  lover  ("  Mild  und 
leise  wie  er  lachelt "),  and  expires  on  his  body. 
The  dying  song  is  one  of  great  beauty  and  pathos, 
and  sadly  recalls  the  passion  of  the  duet  in  the 
second  act,  as  Isolde's  mournful  strains  are  accom- 
panied in  the  orchestra  by  the  sweetly  melodious 
motives  which  had  been  heard  in  it,  the  interweav- 
ing of  the  two  also  suggesting  that  in  death  the 
lovers  have  been  reunited. 


"  Die  Meistersinger  von  Nurnberg,"  a  comic  opera 
in  three  acts,  words  by  the  composer,  was  first  pro- 


304  THE    STANDARD    OPERAS. 

duced  at  Munich,  June  21,  1868,  under  the  direc- 
tion of  Hans  von  Billow,  with  the  following  cast : 

HANS  SACHS Herr  BETZ. 

WALTER Herr  NACHBAUER. 

BECKMESSER Herr  HOLZEL. 

DAVID Herr  SCHLOSSER. 

EVA Mile.  MALLINGER. 

MAGDALENA Mme.  DIETZ. 

The  plan  of  "  The  Mastersingers  "  was  conceived 
about  the  same  time  as  that  of  "  Lohengrin,"  during 
the  composer's  stay  at  Marienbad,  and  occupied  his 
attention  at  intervals  for  twenty  years,  as  it  was  not 
finished  until  1867.  As  is  clearly  apparent  both 
from  its  music  and  text,  it  was  intended  as  a  satire 
upon  the  composer's  critics,  who  had  charged  that 
he  was  incapable  of  writing  melody.  It  is  easy  to 
see  that  these  critics  are  symbolized  by  the  old 
pedant  Beckmesser,  and  that  in  Walter  we  have 
Wagner  himself.  When  he  is  first  brought  in  con- 
tact with  the  Mastersingers,  and  one  of  their  number, 
Kothner,  asks  him  if  he  gained  his  knowledge  in 
any  school,  he  replies,  "  The  wood  before  the 
Vogelweid',  't  was  there  I  learnt  my  singing ; "  and 
again  he  answers  :  — 

"What'winter  night, 

What  wood  so  bright, 
What  book  and  nature  brought  me, 
What  poet  songs  of  magic  might 
Mysteriously  have  taught  me, 

On  horses'  tramp, 

On  field  and  camp, 

On  knights  arrayed 

For  war  parade. 
My  mind  its  powers  exerted." 


THE  MASTERSINGERS.  305 

The  story  is  not  only  one  of  love  as  between 
Walter  and  Eva,  but  of  satirical  protest  as  between 
Walter  and  Beckmesser,  and  the  two  subjects  are 
illustrated  not  only  with  delicate  fancy  but  with  the 
liveliest  of  humor.  The  work  is  replete  with  melody. 
It  has  chorales,  marches,  folk-songs,  duets,  quintets, 
ensembles,  and  choruses,  and  yet  the  composer  does 
not  lose  sight  of  his  theories ;  for  here  we  observe  as 
characteristic  a  use  of  motives  and  as  skilful  a  com- 
bination of  them  as  can  be  found  in  any  of  his  works. 
To  thoroughly  comprehend  the  story,  it  is  necessary 
to  understand  the  conditions  one  had  to  fulfil  before 
he  could  be  a  mastersinger.  First  of  all  he  must 
master  the  "  Tabulatur,"  which  included  the  rules 
and  prohibitions.  Then  he  must  have  the  requisite 
acquaintance  with  the  various  methods  of  rhyming 
verse,  and  with  the  manner  of  fitting  appropriate 
music  to  it.  One  who  had  partially  mastered  the 
Tabulatur  was  termed  a  "  scholar ; "  the  one  who 
had  thoroughly  learned  it,  a  "  schoolman ; "  the  one 
who  could  improvise  verses,  a  "  poet ;  "  and  the 
one  who  could  set  music  to  his  verses,  a  "  master- 
singer."  In  the  test  there  were  thirty-three  faults  to 
be  guarded  against ;  and  whenever  the  marker  had 
chalked  up  seven  against  the  candidate,  he  was  de- 
clared to  have  oversung  himself  and  lost  the  cov- 
eted honor. 

The  vorspiel  is  a  vivid  delineation  of  mediaeval 
German  life,  full  of  festive  pomp,  stirring  action, 
glowing  passion,  and  exuberant  humor.  The  first 
act  opens  in  the  Church  of  St.  Katherine,  at  Nurem- 


306  THE    STANDARD    OPERAS. 

berg,  with  the  singing  of  a  chorale  to  organ  accom- 
paniment. During  the  chorale  and  its  interludes 
a  quiet  love- scene  is  being  enacted  between  Eva, 
daughter  of  the  wealthy  goldsmith  Veit  Pogner,  and 
Walter  von  Stolzing,  a  noble  young  knight.  The 
attraction  is  mutual.  Eva  is  ready  to  become  his 
bride,  but  it  is  necessary  that  her  husband  should  be 
a  mastersinger.  Rather  than  give  up  the  hand  of 
the  fair  Eva,  Walter,  short  as  the  time  is,  determines 
to  master  the  precepts  and  enter  the  .lists.  As  Eva 
and  her  attendant,  Magdalena,  leave  the  church,  the 
apprentices  enter  to  arrange  for  the  trial,  among 
them  David,  the  friskiest  of  them  all,  who  is  in  love 
with  Magdalena.  He  volunteers  to  give  Walter 
some  instructions,  but  they  do  not  avail  him  much 
in  the  end,  for  the  lesson  is  sadly  disturbed  by  the 
gibes  of  the  boys,  in  a  scene  full  of  musical  humor. 
At  last  Pogner  and  Beckmesser,  the  marker,  who  is 
also  a  competitor  for  Eva's  hand,  enter  from  the 
sacristy.  After  a  long  dialogue  between  them  the 
other  masters  assemble,  Hans  Sachs,  the  cobbler- 
bard,  coming  in  last.  After  calling  the  roll,  the 
ceremonies  open  with  a  pompous  address  by  Pogner 
("  Das  schone  Fest,  Johannis-Tag  "),  in  which  he 
promises  the  hand  of  Eva,  "  with  my  gold  and  goods 
beside,"  to  the  successful  singer  on  the  morrow, 
which  is  John  the  Baptist's  Day.  After  a  long  parley 
among  the  gossiping  masters,  Pogner  introduces 
Walter  as  a  candidate  for  election.  He  sings  a 
charming  song  ("  So  rief  der  Lenz  in  den  Wald  "), 
and  as  he  sings,  the  marker,  concealed  behind  a 


THE  MASTERSINGERS.  307 

screen,  is  heard  scoring  down  the  faults.  When  he 
displays  the  slate  it  is  found  to  be  covered  with 
them.  The  masters  declare  him  outsung  and  re- 
jected, but  Hans  Sachs  befriends  him,  and  demands 
he  shall  have  a  chance  for  the  prize. 

The  second  act  discloses  Pogner's  house  and 
Sachs's  shop.  The  apprentices  are  busy  putting  up 
the  shutters,  and  are  singing  as  they  work.  Walter 
meets  Eva  and  plots  an  elopement  with  her,  but 
Sachs  prevents  them  from  carrying  out  their  rash 
plan.  Meanwhile  Beckmesser  makes  his  appearance 
with  his  lute  for  the  purpose  of  serenading  Eva  and 
rehearsing  the  song  he  is  to  sing  for  the  prize  on  the 
morrow.  As  he  is  about  to  sing,  Sachs  breaks  out 
into  a  rollicking  folk-song  ("Jerum,  jerum,  halla, 
halla,  he  !"),  in  which  he  sings  of  Mother  Eve  and 
the  troubles  she  had  after  she  left  Paradise,  for  want 
of  shoes.  At  last  he  allows  Beckmesser  a  hearing, 
provided  he  will  permit  him  to  mark  the  faults  with 
his  hammer  upon  the  shoe  he  is  making.  The 
marker  consents,  and  sings  his  song,  "Den  Tag 
seh'  ich  erscheinen,"  accompanied  with  excruciating 
roulades  of  the  old-fashioned  conventional  sort ;  but 
Sachs  knocks  so  often  that  his  shoe  is  finished  long 
before  Beckmesser's  song.  This  is  his  first  humilia- 
tion. Before  the  act  finishes  he  is  plunged  into  still 
further  trouble,  for  David  suspects  him  of  designs 
upon  Magdalena,  and  a  general  quarrel  ensues. 

The  third  act  opens  upon  a  peaceful  Sunday- 
morning  scene  in  the  sleepy  old  town,  and  shows  us 
Sachs  sitting  in  his  arm-chair  at  the  window  reading 


308  THE    STANDARD    OPERAS. 

his  Bible,  and  now  and  then  expressing  his  hopes 
for  Walter's  success,  as  the  great  contest  is  soon  to 
take  place.  At  last  he  leans  back,  and  after  a  brief 
meditation  commences  a  characteristic  song  ("  Wahn  ! 
wahn  !  Ueberall  vvahn  !  ").  A  long  dialogue  ensues 
between  him  and  Walter,  and  then  as  Eva,  David, 
Magdalena,  and  Beckmesser  successively  enter,  the 
scene  develops  into  a  magnificent  quintet,  which  is 
one  of  the  most  charming  numbers  in  the  opera. 
The  situation  then  suddenly  changes.  The  stage- 
setting  represents  an  open  meadow  on  the  banks  of 
the  Pegnitz.  The  river  is  crowded  with  boats.  The 
plain  is  covered  with  tents  full  of  merrymakers. 
The  different  guilds  are  continually  arriving.  A 
livelier  or  more  stirring  scene  can  hardly  be  imagined 
than  Wagner  has  here  pictured,  with  its  accompani- 
ment of  choruses  by  the  various  handicraftsmen, 
their  pompous  marches,  and  the  rural  strains  of 
town  pipers.  At  last  the  contest  begins.  Beckmesser 
attempts  to  get  through  his  song  and  dismally  fails. 
Walter  follows  him  with  the  beautiful  prize- song, 
"  Morgenlich  leuchtend  in  rosigem  Schein."  He 
wins  the  day  and  the  hand  of  Eva.  Exultant  Sachs 
trolls  out  a  lusty  lay  ("  Verachtet  mir  der  Meister 
nicht  "),  and  the  stirring  scene  ends  with  the  accla- 
mations of  the  people  ("  Heil  Sachs  !  Hans  Sachs  ! 
Heil  Niirnberg's  theurem  Sachs  !  "). 


THE  RING   OF  THE  NI BE  LUNG.         309 


fling  of  the  J&tbelrmg. 

"  Der  Ring  der  Nibelungen,"  a  trilogy,  the  sub- 
ject taken  from  the  Nibelungen  Lied  and  adapted 
by  the  composer,  was  first  conceived  by  Wagner 
during  the  composition  of  "  Lohengrin."    The  four 
dramatic   poems  which  constitute  its  cyclus  were 
written  as  early  as  1852,  which  will  correct  a  very 
general  impression  that  this  colossal  work  was  pro- 
jected during  the  closing  years  of  his  life.     On  the 
contrary,  it  was  the  product  of  his  prime.     HuerTer, 
in  his  biographical  sketch  of  Wagner,  says  that  he 
hesitated  between  the  historical  and  mythical  prin- 
ciples as  the  subjects  of  his  work,  —  Frederick  the 
First  representing  the  former,   and   Siegfried,  the 
hero  of  Teutonic  mythology,  the  latter.     Siegfried 
was    finally   selected.      "  Wagner    began   at  once 
sketching  the  subject,  but  gradually  the  immense 
breadth  and  grandeur  of  the  old  types  began  to 
expand  under  his  hands,  and  the  result  was  a  tril- 
ogy, or  rather  tetralogy,  of  enormous  dimensions, 
perhaps  the  most  colossal  attempt  upon  which  the 
dramatic  muse  has  ventured  since  the  times  of  ^Es- 
chylus."     The  trilogy  is  really  in  four  parts,  — "  Das 
Rheingold  "  (the  Rhinegold)  ;  "  Die  Walkure  "  (the 
Valkyrie) ;  "  Siegfried  " ;  and  "  Die  Gotterdammer- 
ung"  (the  Twilight  of  the  Gods),  "The  Rhine- 
gold  "  being  in  the  nature  of  an  introduction  to  the 
trilogy  proper,  though  occupying  an  evening  for  its 
performance.     Between  the  years  1852  and   1856 


310  THE    STANDARD    OPERAS. 

the  composer  wrote  the  music  of  the  "  Rhinegold  " 
and  the  whole  of  "The  Valkyrie ;  "  and  then,  as  he 
says  himself,  wishing  to  keep  up  his  active  connec- 
tion with  the  stage,  he  interrupted  the  progress  of 
the  main  scheme,  and  wrote  "  Tristan  and  Isolde," 
which  occupied  him  from  1856  to  1859.  During 
its  composition,  however,  he  did  not  entirely  for- 
sake the  trilogy.  In  the  autumn  of  1856  he  began 
"  Siegfried,"  the  composition  of  which  was  not  fin- 
ished until  1869,  owing  to  many  other  objects  which 
engaged  his  attention  during  this  period,  one  of 
which  was  the  composition  of  "  The  Mastersingers," 
which  he  wrote  at  intervals  between  1861  and  1867. 
From  the  latter  year  until  1876,  when  the  trilogy 
was  produced  at  Baireuth,  he  gave  himself  wholly 
to  the  work  of  completing  it  and  preparing  it  for 
the  stage. 

Prior  to  the  production  of  the  completed  work, 
separate  parts  of  it  were  given,  though  Wagner 
strongly  opposed  it.  "  The  Rhinegold,"  or  intro- 
duction, came  to  a  public  dress-rehearsal  at  Munich 
Aug.  25,  1869,  and  "The  Valkyrie  "  was  performed 
in  a  similar  manner  in  the  same  city,  June  24,  1870, 
with  the  following  cast :  — 

WOTAN Herr  KINDERMANN. 

SIEGMUND Herr  VOGL. 

HUNDING Herr  BAUSERWEIN. 

BRUNNHILDE Frl.  STEHLE. 

SIEGLINDE Frau  VOGL. 

FRICKA Frl.  KAUFFMANN. 


THE  RING   OF  THE  N IB E LUNG.        311 

The  "Siegfried  "  and  "  Gotterdammerung,"  how- 
ever, were  not  given  until  the  entire  work  wa?  per- 
formed in    1876.      Upon   the    completion   of  his 
colossal  task  Wagner  began  to  look  about  him  for 
the  locality,  theatre,  artists,  and  materials  suitable 
for  a  successful  representation.      In  the   circular 
which  he  issued,  narrating  the  circumstances  which 
led  up  to  the  building  of  the  Baireuth  opera-house, 
he  says:  "As  early  as  the  spring  of  1871  I  had, 
quietly  and  unnoticed,  had  my  eye  upon  Baireuth, 
the  place  I  had  chosen  for  my  purpose.     The  idea 
of  using  the  Margravian  Opera-House  was  aban- 
doned so  soon  as  I  saw  its  interior  construction. 
But  yet  the  peculiar  character  of  that  kindly  town 
and  its   site   so   answered   my  requirements,   that 
during  the  wintry  latter  part  of  the  autumn  of  the 
same  year  I  repeated  my  visit,  —  this  time,  how- 
ever, to  treat  with  the  city  authorities.  ...  An  un- 
surpassably  beautiful  and  eligible  plot  of  ground  at 
no  great  distance  from  the  town  was  given  me  on 
which  to  erect  the  proposed  theatre.    Having  come 
to  an  understanding  as  to  its  erection  with  a  man 
of  approved  inventive  genius,  and  of  rare  experi- 
ence in  the  interior   arrangement   of  theatres,  we 
could  then   intrust  to   an  architect  of  equal  ac- 
quaintance with  theatrical  building  the  further  plan- 
ning and  the  erection  of  the  provisional  structure. 
And  despite  the  great  difficulties  which  attended 
the  arrangements  for  putting  under  way  so  unusual 
an  undertaking,  we  made  such  progress  that  the 
laying  of  the  corner-stone  could  be  announced  to 


312  THE    STANDARD    OPERAS. 

our  p?trons  and  friends  for  May  22,  1872."  The 
ceremony  took  place  as  announced,  and  was  made 
still  further  memorable  by  a  magnificent  perform- 
ance of  Beethoven's  Ninth  or  Choral  Symphony, 
the  chorus  of  which,  set  to  Schiller's  "  Ode  to  Joy," 
was  sung  by  hundreds  of  lusty  German  throats.  In 
addition  to  the  other  contents  of  the  stone,  Wagner 
deposited  the  following  mystic  verse  of  his  own : 

"  I  bury  here  a  secret  deep, 

For  centuries  long  to  lie  concealed ; 

Yet  while  this  stone  its  trust  shall  keep, 

To  all  the  secret  stands  revealed." 

He  also  made  an  eloquent  address,  setting  forth 
the  details  of  the  plans  and  the  purposes  of  the 
new  temple  of  art.  The  undertaking  was  now  fairly 
inaugurated.  The  erratic  King  of  Bavaria  had  from 
the  first  been  Wagner's  steadfast  friend  and  munifi- 
cent patron ;  but  not  to  him  alone  belongs  the 
credit  of  the  colossal  project  and  its  remarkable 
success.  When  Wagner  first  made  known  his  views, 
other  friends,  among  them  Tausig,  the  eminent  pi- 
anist, at  once  devoted  themselves  to  his  cause.  In 
connection  with  a  lady  of  high  rank,  Baroness  von 
Schleinitz,  he  proposed  to  raise  the  sum  of  three 
hundred  thousand  thalers  by  the  sale  of  patronage 
shares  at  three  hundred  thalers  each,  and  had  al- 
ready entered  upon  the  work  when  his  death  for 
the  time  dashed  Wagner's  hopes.  Other  friends, 
however,  now  came  forward.  An  organization  for 
the  promotion  of  the  scheme,  called  the  "  Richard 


THE  RING   OF  THE  NIB E LUNG.         313 

Wagner  Society,"  was  started  at  Mannheim.  Not- 
withstanding the  ridicule  which  it  excited,  another 
society  was  formed  at  Vienna.  Like  societies  be- 
gan to  appear  in  all  the  principal  cities  of  Germany, 
and  they  found  imitators  in  Milan,  Pesth,  Brussels, 
London,  and  New  York.  Shares  were  taken  so 
rapidly  that  the  success  of  the  undertaking  was  no 
longer  doubtful.  Meanwhile  the  theatre  itself  was 
under  construction.  It  combined  several  peculiari- 
ties, one  of  the  most  novel  of  which  was  the  con- 
cealment of  the  orchestra  by  the  sinking  of  the 
floor,  so  that  the  view  of  the  audience  could  not  be 
interrupted  by  the  musicians  and  their  movements. 
Private  boxes  were  done  away  with,  the  arrange- 
ment of  the  seats  being  like  that  of  an  ancient 
amphitheatre,  all  of  them  facing  the  stage.  Two 
prosceniums  were  constructed  which  gave  an  in- 
definable sense  of  distance  to  the  stage-picture.  To 
relieve  the  bare  side  walls,  a  row  of  pillars  was 
planned,  gradually  widening  outward  and  forming 
the  end  of  the  rows  of  seats,  thus  having  the  effect 
of  a  third  proscenium.  The  stage  portion  of  the 
theatre  was  twice  as  high  as  the  rest  of  the  building, 
for  all  the  scenery  was  both  raised  and  lowered,  the 
incongruity  between  the  two  parts  being  concealed 
by  a  facade  in  front.  "  Whoever  has  rightly  under- 
stood me,"  says  Wagner,  "  will  readily  perceive  that 
architecture  itself  had  to  acquire  a  new  significance 
under  the  inspiration  of  the  genius  of  Music,  and 
thus  that  the  myth  of  Amphion  building  the  walls  of 
Thebes  by  the  notes  of  his  lyre  has  yet  a  meaning." 


314  THE   STANDARD    OPERAS. 

The  theatre  was  completed  in  1876,  and  in  the 
month  of  August  (13-16)  Wagner  saw  the  dream 
of  his  life  take  the  form  of  reality.  He  had  every- 
thing at  his  command,  —  a  theatre  specially  con- 
structed for  his  purpose ;  a  stage  which  in  size, 
scenery,  mechanical  arrangements,  and  general 
equipment,  has  not  its  equal  in  the  world;  an 
array  of  artists  the  best  that  Europe  could  produce ; 
an  orchestra  almost  literally  composed  of  virtuosi. 
The  audience  which  gathered  at  these  perform- 
ances —  composed  of  princes,  illustrious  men  in 
every  department  of  science  and  culture,  and  prom- 
inent musicians  from  all  parts  of  the  world  —  was 
one  of  which  any  composer  might  have  been  proud, 
while  the  representation  itself  marked  an  epoch  in 
musical  history,  and  promulgated  a  new  system  of 
laws  destined  to  affect  operatic  composition  ever 
after. 

The  casts  of  the  various  portions  of  the  trilogy 
upon  this  memorable  occasion  were  as  follows : 

DAS  RHEINGOLD.     (PRELUDE.) 

WOTAN  -N  ,  Herr  BETZ. 

DONNER  f  -  \  Herr  GURA. 

>  Gods <  „       TT 

FROH       V  )  Herr  UNGEE. 

LOGE       '  ^  Herr  VOGL. 

FASOLT  )  _.  (  Herr  EILERS. 

^  J  Giants      ....     I  TT 

FAFNER  )  (.  Herr  VON  REICHENBERG. 

ALBERICH  }  (  Herr  HILL. 

i  Nibelungs      .    .      i  T 
MIME         }  (.  Herr  SCHLOSSER. 

FRICKA  -\  ^  Frau  VON  GRUN-SADLER 

FREIA    [  Goddesses     .    .    .     <  Frl.  HAUPT. 
ERDA     ^  (.  Frau  JA'IDA. 


THE  RING  OF  THE  NIB E LUNG.        315 

WOGLINDE    -N  /•  Frl.  LILLY  LEHMANN. 

WELLGUNDE  i  Rhine  daughters.  5  Frl.  MARIE  LEHMANN. 
FLOSSHILDE  )  (.  Frl.  LAMMERT. 

DIE  WALKURE. 

SIEGMUND Herr  NIEMANN. 

HUNDING Herr  NIERING. 

WOTAN Herr  BETZ. 

SlEGLINDE Frl.  SCHEFZKY. 

BRUNNHILDE Frau  FRIEDRICH-MATERNA. 

FRICKA Frau  VON  GRUN-SADLER. 

SIEGFRIED. 

SIEGFRIED Herr  UNGER. 

MIME Herr  SCHLOSSER. 

DER  WANDERER    ....  Herr  BETZ. 

ALUERICH Herr  HILL. 

FAFNER Herr  VON  REICHENBERG. 

ERDA Frau  JAIDA. 

BRUNNHILDE Frau  FRIEDRICH-MATERNA. 

DER   GOTTERDAMMERUNG. 

SIEGFRIED Herr  UNGER. 

GUNTHER Herr  GURA. 

HAGEN Herr  VON  REICHENBERG. 

ALISERICH Herr  HILL. 

BRUNNHILDE Frau  FRIEDRICH-MATERNA. 

GUTRUNE Frl.  WECKERLIN. 

WALTRAUTE Frau  JAIDA. 

The  motive  of  the  drama  turns  upon  the  posses- 
sion of  a  ring  of  magic  qualities,  made  of  gold  stolen 
from  the  Rhine  daughters  by  Alberich,  one  of  the 
Nibelungen,  who  dwelt  in  Nebelheim,  the  place  of 
mists.  This  ring,  the  symbol  of  all  earthly  power, 


316  THE    STANDARD    OPERAS. 

was  at  the  same  time  to  bring  a  curse  upon  all  who 
possessed  it.  Wotan,  of  the  race  of  the  gods,  cov- 
etous of  power  and  heedless  of  the  curse  which 
follows  it,  obtained  the  ring  from  Alberich  by  force 
and  cunning,  and  soon  found  himself  involved  in 
calamity  from  which  there  was  no  apparent  escape. 
He  himself  could  not  expiate  the  wrong  he  had 
done,  nor  could  he  avert  the  impending  doom,  the 
"  twilight  "  of  the  gods,  which  was  slowly  and  surely 
approaching.  Only  a  free  will,  independent  of  the 
gods,  and  able  to  take  upon  itself  the  fault,  could 
make  reparation  for  the  deed.  At  last  he  yields  to 
despair.  His  will  is  broken,  and  instead  of  fearing 
the  inevitable  doom  he  courts  it.  In  this  sore 
emergency  the  hero  appears.  He  belongs  to  an 
heroic  race  of  men,  the  Volsungs.  The  unnatural 
union  of  the  twins,  Siegmund  and  Sieglinde,  born 
of  this  race,  produces  the  real  hero,  Siegfried.  The 
parents  pay  the  penalty  of  incest  with  their  lives ; 
but  Siegfried  remains,  and  Wotan  watches  his  growth 
and  magnificent  development  with  eager  interest. 
Siegfried  recovers  the  ring  from  the  giants,  to  whom 
Wotan  had  given  it,  by  slaying  a  dragon  which 
guarded  the  fatal  treasure.  Briinnhilde,  the  Valkyr, 
Wotan's  daughter,  contrary  to  his  instructions,  had 
protected  Siegmund  in  a  quarrel  which  resulted  in 
his  death,  and  was  condemned  by  the  irate  god  to 
fall  into  a  deep  sleep  upon  a  rock  surrounded  by 
flames,  where  she  was  to  remain  until  a  hero  should 
appear  bold  enough  to  break  through  the  wall  of 
fire  and  awaken  her.  Siegfried  rescues  her.  She 


THE  RING   OF  THE  N IB E LUNG. 


317 


wakens  into  the  full  consciousness  of  passionate 
love,  and  yields  herself  to  the  hero,  who  presents 
her  with  the  ring,  but  not  before  it  has  worked  its 
curse  upon  him,  so  that  he,  faithless  even  in  his 
faithfulness,  wounds  her  whom  he  deeply  loves,  and 
drives  her  from  him.  Meanwhile  Gunther,  Gutrune, 
and  their  half-brother  Hagen  conspire  to  obtain 
the  ring  from  Briinnhilde  and  to  kill  Siegfried. 
Through  the  agency  of  a  magic  draught  he  is  in- 
duced to.  desert  her,  after  once  more  getting  the 
ring.  He  then  marries  Gutrune.  The  curse  soon 
reaches  its  consummation.  One  day,  while  trav- 
ersing his  favorite  forests  on  a  hunting  expedition, 
he  is  killed  by  Hagen,  with  Gunther's  connivance. 
The  two  murderers  then  quarrel  for  the  possession 
of  the  ring,  and  Gunther  is  slain.  Hagen  attempts 
to  wrest  it  from  the  dead  hero's  finger,  but  shrinks 
back  terrified  as  the  hand  is  raised  in  warning. 
Briinnhilde  now  appears,  takes  the  ring,  and  pro- 
claims herself  his  true  wife.  She  mounts  her  steed, 
and  dashes  into  the  funeral  pyre  of  Siegfried  after 
returning  the.  ring  to  the  Rhine-daughters.  This 
supreme  act  of  immolation  breaks  forever  the  power 
of  the  gods,  as  is  shown  by  the  blazing  Walhalla  in 
the  sky ;  but  at  the  same  time  justice  has  been  sat- 
isfied, reparation  has  been  made  for  the  original 
wrong,  and  the  free  will  of  man  becomes  established 
as  a  human  principle. 

Such  are  the  outlines  of  this  great  story,  which 
will  be  told  more  in  detail  when  we  come  to  exam- 
ine the  component  parts  of  the  trilogy.  Dr.  Ludwig 


318  THE    STANDARD    OPERAS. 

Nohl,  in  his  admirable  sketch  of  the  Nibelungen 
poem,  as  Wagner  adapted  it,  gives  us  a  hint  of 
some  of  its  inner  meanings  in  the  following  extract : 
"  Temporal  power  is  not  the  highest  destiny  of  a 
civilizing  people.  That  our  ancestors  were  con- 
scious of  this  is  shown  in  the  fact  that  the  treasure, 
or  gold  and  its  power,  was  transformed  into  the 
Holy  Grail.  Worldly  aims  give  place  to  spiritual 
desires.  With  this  interpretation  of  the  Nibelungen 
myth,  Wagner  acknowledged  the  grand  and  eternal 
truth  that  this  life  is  tragic  throughout,  and  that  the 
will  which  would  mould  a  world  to  accord  with 
one's  desires  can  finally  lead  to  no  greater  satisfac- 
tion than  to  break  itself  in  a  noble  death.  ...  It 
is  this  conquering  of  the  world  through  the  victory 
of  self  which  Wagner  conveys  as  the  highest  inter- 
pretation of  our  national  myths.  As  Briinnhilde 
approaches  the  funeral  pyre  to  sacrifice  her  life,  the 
only  tie  still  uniting  her  with  the  earth,  to  Siegfried, 
the  beloved  dead,  she  says  :  — 

'  To  the  world  I  will  give  now  my  holiest  wisdom ; 
Not  goods,  nor  gold,  nor  godlike  pomp, 
Not  house,  nor  lands,  nor  lordly  state, 
Not  wicked  plottings  of  crafty  men, 
Not  base  deceits  of  cunning  law,  — 
But,  blest  in  joy  and  sorrow,  let  only  love  remain.' " 

We  now  proceed  to  the  analysis  of  the  four  divi- 
sions of  the  work,  in  which  task,  for  obvious  reasons, 
it  will  be  hardly  possible  to  do  more  than  sketch 
the  progress  of  the  action,  with  allusions  to  its  most 
striking  musical  features.  There  are  no  set  num- 


DAS  RHEINGOLD.  319 

bers,  as  in  the  Italian  opera ;  and  merely  to  desig- 
nate the  leading  motives  and  trace  their  relation  to 
each  other,  to  the  action  of  the  dramatis  personce, 
and  to  the  progress  of  the  four  movements,  not 
alone  towards  their  own  climaxes  but  towards  the 
ultimate  denouement,  would  necessitate  far  more 
space  than  can  be  had  in  a  work  of  this  kind. 


The  orchestral  prelude  to  "The  Rhinegold  "  is 
based  upon  a  single  figure,  the  Rhine  motive, 
which  in  its  changing  developments  pictures  the 
calm  at  the  bottom  of  the  Rhine  and  the  undulat- 
ing movement  of  the  water.  The  curtain  rises  and 
discloses  the  depths  of  the  river,  from  which  rise 
rugged  ridges  of  rock.  Around  one  of  these,  upon 
the  summit  of  which  glistens  the  Rhinegold,  Wo- 
glinde,  a  Rhine-daughter,  is  swimming.  Two  others, 
Wellgunde  and  Flosshilde,  join  her;  and  as  they 
play  about  the  gleaming  gold,  Alberich,  a  dwarf, 
suddenly  appears  from  a  dark  recess  and  passion- 
ately watches  them.  As  they  are  making  sport  of 
him,  his  eye  falls  upon  the  gold  and  he  determines 
to  possess  it.  They  make  light  of  his  threat,  in- 
forming him  that  whoever  shall  forge  a  ring  of  this 
gold  will  have  secured  universal  power,  but  before 
he  can  obtain  that  power  he  will  have  to  renounce 
love.  The  disclosure  of  the  secret  follows  a  most 
exultant  song  of  the  Undines  ("  Rheingold  !  leuch- 


320 


THE    STANDARD    OPERAS. 


tende  Lust !  wie  lachst  du  so  hell  und  hehr  !  "). 
In  the  announcement  made  by  them  also  occurs  the 
motive  of  the  ring.  The  Rhine-daughters,  who 
have  fancied  that  Alberich  will  never  steal  the  gold 
because  he  is  in  love  with  them,  are  soon  unde-  . 
ceived,  for  he  curses  love,  and  snatches  the  gold 
and  makes  off  with  it,  pursued  by  the  disconsolate 
maidens,  whose  song  changes  into  a  sad  minor  lead- 
ing up  to  the  next  scene.  As  they  follow  him  into 
the  dark  depths  the  stream  sinks  with  them  and 
gives  place  to  an  open  district  with  a  mountain  in 
the  background,  upon  which  is  the  glistening  Wal- 
halla,  which  the  giants  have  just  built  for  the  gods. 
Wotan  and  Fricka  are  discovered  awakening  from 
sleep  and  joyfully  contemplating  it,  the  latter,  how- 
ever, filled  with  apprehension  lest  the  giants  shall 
claim  Freia,  the  goddess  of  love,  whom  Wotan  has 
promised  to  them  as  the  reward  for  their  work. 
Loge,  the  god  of  fire,  however,  has  agreed  to  obtain 
a  ransom  for  her.  He  has  searched  the  world 
over,  but  has  been  unable  to  find  anything  that  can 
excel  in  value  or  attraction  the  charm  of  love.  As 
the  gods  are  contemplating  their  castle  Loge 
appears,  and  in  a  scene  of  great  power,  accom- 
panied by  music  which  vividly  describes  the  ele- 
ment he  dominates  ("  Immer  ist  Undank  Loge's 
Lohn  "),  he  narrates  the  tidings  of  his  failure.  The 
giants,  however,  have  heard  the  story  of  the  Rhine- 
gold,  and  as  they  carry  off  the  weeping  Freia  agree 
to  release  her  whenever  the  gods  will  give  to  them 
the  precious  and  all-powerful  metal.  As  love  de- 


DAS  RHEINGOLD. 


321 


parts,  the  heavens  become  dark  and  sadness  over- 
comes the  gods.  They  grow  suddenly  old  and 
decrepit.  Fricka  totters  and  Wotan  yields  to 
despair.  Darkness  and  decay  settle  down  upon 
them.  The  divine  wills  are  broken,  and  they  are 
about  to  surrender  to  what  seems  approaching  disso- 
lution, when  Wotan  suddenly  arouses  himself  and 
determines  to  go  in  quest  of  the  all-powerful  gold. 
Loge  accompanies  him,  and  the  two  enter  the  dark 
kingdom  of  the  gnomes,  who  are  constantly  at  work 
forging  the  metals.  By  virtue  of  his  gold  Alberich 
has  already  made  himself  master  of  all  the  gnomes, 
but  Wotan  easily  overpowers  him  and  carries  him 
off  to  the  mountain.  The  Nibelung,  however, 
clings  to  his  precious  gold,  and  a  struggle  ensues 
for  it.  In  spite  of  his  strength  and  the  power  the 
ring  gives  to  him  it  is  wrenched  from  him,  and  the 
victorious  Wotan  leaves  him  free  to  return  to  his 
gloomy  kingdom.  Infuriated  with  disappointment 
over  his  loss  and  rage  at  his  defeat,  Alberich  curses 
the  ring  and  invokes  misfortune  upon  him  who  pos- 
sesses it.  "  May  he  who  has  it  not,  covet  it  with  rage," 
cries  the  dwarf,  "  and  may  he  who  has  it,  retain  it  with 
the  anguish  of  fear ;  "  and  with  curse  upon  curse  he 
disappears.  Now  that  he  has  the  ring,  Wotan  is 
unwilling  to  give  it  up.  The  other  gods  implore 
him  to  do  so,  and  the  giants  demand  their  ransom. 
He  remains  inflexible  ;  but  at  last  Erda,  the  ancient 
divinity,  to  whom  all  things  are  known,  past,  pres- 
ent and  future,  appears  to  Wotan  and  warns  him 
to  surrender  the  rin^r.  She  declares  that  all  which 


322  THE    STANDARD    OPERAS. 

exists  will  have  an  end,  and  that  a  night  of  gloom 
will  come  upon  the  gods.  So  long  as  he  retains 
the  ring  a  curse  will  follow  it.  Her  sinister  fore- 
boding so  alarms  him  that  at  last  he  abandons  the 
gold.  Youth,  pride,  and  strength  once  more  return 
to  the  gods. 

The  grand  closing  scene  of  the  prelude  now 
begins.  Wotan  attempts  to  enter  Walhalla,  but  all 
is  veiled  in  oppressive  mist  and  heavy  clouds.  The 
mighty  Donner,  accompanied  by  Froh,  climbs  a 
high  rock  in  the  valley's  slope  and  brandishes  his 
hammer,  summoning  the  clouds  about  him.  From 
put  their  darkness  its  blows  are  heard  descending 
upon  the  rock.  Lightning  leaps  from  them,  and 
thunder-crashes  follow  each  other  with  deafening 
sounds.  The  rain  falls  in  heavy  drops.  Then  the 
clouds  part,  and  reveal  the  two  in  the  midst  of  their 
storm-spell.  In  the  distance  appears  Walhalla 
bathed  in  the  glow  of  the  setting  sun.  From  their 
feet  stretches  a  luminous  rainbow  across  the  valley 
to  the  castle,  while  out  from  the  disappearing  storrn 
comes  the  sweet  rainbow  melody.  Froh  sings, 
"Though  built  lightly  it  looks,  fast  and  fit  is  the 
bridge."  The  gods  are  filled  with  delight,  but 
Wotan  gloomily  contemplates  the  castle  as  the  curse 
of  the  ring  recurs  to  him.  At  last  a  new  thought 
comes  in  his  mind.  The  hero  who  will  make  repa- 
ration is  to  come  from  the  new  race  of  mortals  of 
his  own  begetting.  The  thought  appears  in  the 
sword  motive,  and  as  its  stately  melody  dies  away, 
Wotan  rouses  from  his  contemplation  and  hails 


DTE    WALKURE.  323 

Walhalla  with  joy  as  "a  shelter  from  shame  and 
harm."  He  takes  Fricka  by  the  hand,  and  leading 
the  way,  followed  by  Froh,  Freia,  Donner,  and 
Loge,  the  last  somewhat  reluctantly,  the  gods  pass 
over  the  rainbow  bridge  and  enter  Walhalla  bathed 
in  the  light  of  the  setting  sun  and  accompanied  by 
the  strains  of  a  majestic  march.  During  their 
passage  the  plaintive  song  of  the  Rhine-daughters 
mourning  their  gold  comes  up  from  the  depths. 
Wotan  pauses  a  moment  and  inquires  the  meaning 
of  the  sounds,  and  bids  Loge  send  a  message  to 
them  that  the  treasure  shall  "  gleam  no  more  for  the 
maids."  Then  they  pass  laughingly  and  mock- 
ingly  on  through  the  splendor  to  Walhalla.  The 
sad  song  still  rises  from  the  depths  of  the  Rhine, 
but  it  is  overpowered  by  the  strains  of  the  march, 
and  pealing  music  from  the  castle.  The  curtain 
falls  upon  their  laments,  and  the  triumphant  entrance 
of  the  gods  into  their  new  home. 


pie 


In  "  The  Valkyrie,"  properly  the  first  part  of  the 
cyclus,  the  human  drama  begins.  Strong  races  of 
men  have  come  into  existence,  and  Wotan's  Valkyres 
watch  over  them,  leading  those  who  fall  in  battle  to 
Walhalla,  where,  in  the  gods'  companionship,  they 
are  to  pass  a  glorious  life.  According  to  the  origi- 
nal legend,  Wotan  blessed  an  unfruitful  marriage 
of  this  race  by  giving  the  pair  an  apple  of  Hulda 


324  THE    STANDARD    OPERAS. 

to  eat,  and  the  twins,  Siegmund  and  Sieglinde,  were 
the  result  of  the  union.  When  the  first  act  opens, 
Siegmund  has  already  taken  a  wife  and  Sieglinde 
has  married  the  savage  warrior  Hunding,  but  neither 
marriage  has  been  fruitful.  It  is  introduced  with  an 
orchestral  prelude  representing  a  storm.  The  pour- 
ing of  the  rain  is  audible  among  the  violins  and  the 
rumbling  of  the  thunder  in  the  deep  basses.  The 
curtain  rises,  disclosing  the  interior  of  a  rude  hut, 
its  roof  supported  by  the  branches  of  an  ash-tree 
whose  trunk  rises  through  the  centre  of  the  apart- 
ment. As  the  tempest  rages  without,  Siegmund 
rushes  in  and  falls  exhausted  by  the  fire.  Attracted 
by  the  noise,  Sieglinde  appears,  and  observing  the 
fallen  stranger  bends  compassionately  over  him  and 
offers  him  a  horn  of  mead.  As  their  eyes  meet 
they  watch  each  other  with  strange  interest  and 
growing  emotion.  While  thus  mutually  fascinated, 
Hunding  enters  and  turns  an  inquiring  look  upon 
Sieglinde.  She  explains  that  he  is  a  guest  worn 
out  with  fatigue  and  seeking  shelter.  Hunding 
orders  a  repast  and  Siegmund  tells  his  story.  Van- 
quished in  combat  by  a  neighboring  tribe,  some  of 
whose  adherents  he  had  slain,  and  stripped  of  his 
arms,  he  fled  through  the  storm  for  refuge.  Hund- 
ing promises  him  hospitality,  but  challenges  him  to 
combat  on  the  morrow,  for  the  victims  of  Sieg- 
mund's  wrath  were  Hunding's  friends.  As  Sieglinde 
retires  at  Hunding's  bidding,  she  casts  a  despairing, 
passionate  look  at  Siegmund,  and  tries  to  direct 
his  attention  to  a  sword  sticking  in  the  ash-tree,  but 


DIE    WALKURE.  325 

in  vain.  Hunding  warns  her  away  with  a  significant 
look,  and  then  taking  his  weapons  from  the  tree 
leaves  Siegmund  alone.  The  latter,  sitting  by  the 
fire,  foils  into  dejection,  but  is  soon  roused  by  the 
thought  that  his  sire  had  promised  he  should  find 
the  sword  Nothimg  in  his  time  of  direst  need. 
The  dying  fire  shoots  out  a  sudden  flame,  and  his 
eye  lights  upon  its  handle,  illuminated  by  the  blaze. 
The  magnificent  sword-melody  is  sounded,  and  in  a 
scene  of  great  power  he  hails  it  and  sings  his  love 
for  Sieglinde,  whom  now  he  can  rescue.  As  the 
fire  and  the  song  die  away  together,  Sieglinde  re- 
appears. She  has  drugged  Hunding  into  a  deep 
sleep,  and  in  an  exultant  song  tells  Siegmund  the 
story  of  the  sword.  They  can  be  saved  if  he  is 
strong  enough  to  wrench  it  from  the  trunk  of  the 
ash.  He  recognizes  his  sister  and  folds  her  pas- 
sionately in  his  arms.  The  storm  has  passed,  and 
as  the  moonlight  floods  the  room  he  breaks  out 
in  one  of  the  loveliest  melodies  Wagner  has  ever 
written,  the  spring  song  ("  Winterstiirme  wichen  dern 
Wonnemond"),  a  song  of  love  leading  to  the 
delights  of  spring;  and  Sieglinde  in  passionate 
response  declares,  "  Thou  art  the  spring  for  which 
I  longed  in  winter's  frosty  embrace."  The  recog- 
nition is  mutual,  not  alone  of  brother  and  sister 
but  of  lover  and  mistress,  —  the  union  which  is 
destined  to  beget  Siegfried,  the  hero.  Seizing  her 
in  his  arms,  Siegmund  disappears  with  her  into  the 
depths  of  the  forest,  and  the  curtain  falls. 

The  second  act  opens  in  the  mountains  of  the 


326  THE    STANDARD    OPERAS. 

gods,  and  discloses  Wotan  with  spear  in  hand  in 
earnest  converse  with  Briinnhilde,  his  daughter,  who 
is  arrayed  in  the  armor  of  a  Valkyr.  He  tells  her 
of  the  approaching  combat,  and  bids  her  award  the 
victory  to  Siegmund  the  Volsung,  beloved  of  the 
gods.  As  she  disappears  among  the  rocks,  shout- 
ing the  weird  cry  of  the  Valkyres,  the  jealous  Fricka, 
protector  of  marriage  vows,  comes  upon  the  scene 
in  a  chariot  drawn  by  rams.  A  stormy  dialogue 
occurs  between  them,  Fricka  demanding  the  death 
of  Siegmund  as  compensation  for  the  wrong  done 
to  Hunding.  Wotan  at  last  is  overcome,  and  con- 
sents that  the  Valkyres  shall  conduct  him  to  Wal- 
halla.  As  he  yields,  Briinnhilde's  jubilant  song  is 
heard  on  the  heights,  and  Wotan  summons  her  and 
announces  his  changed  decision.  Siegmund  must 
perish.  As  he  stalks  gloomily  away  among  the 
rocks,  Briinnhilde  falls  into  deep  dejection,  and 
turns  away  moaning :  "  Alas  !  my  Volsung  !  Has  it 
come  to  this,  —  that  faithless  the  faithful  must  fail 
thee?  "  As  she  enters  a  cave  for  her  horse,  the  fugi- 
tives Siegmund  and  Sieglinde  hurriedly  approach, 
pursued  by  the  infuriated  Hunding.  They  stop  to 
rest,  and  Sieglinde  falls  exhausted  in  his  arms.  The 
scene  is  marked  by  alternations  of  passionate  love 
and  fear,  hope  on  the  one  side,  despair  on  the 
other,  vividly  portrayed  in  the  instrumentation.  As 
the  music  dies  away  and  Sieglinde  rests  insensible 
in  his  arms,  Briinnhilde,  with  deep  melancholy  in 
her  visage,  shows  herself  to  Siegmund.  In  reply  to 
his  question,  "Who  art  thou?"  she  answers,  "He 


DIE    WALKURE.  327 

who  beholds  me,  to  death  in  the  battle  is  doomed. 
I  shall  lead  thee  to  Walhalla."  Eagerly  he  asks, 
"  Shall  I  find  in  Walhalla  my  own  father  Walse  ?  " 
and  she  answers,  "The  Volsung  shall  find  his 
father  there."  With  passionate  earnestness  he 
asks,  "  Shall  Siegmund  there  embrace  Sieglinde  ?  " 
The  Valkyre  replies,  "The  air  of  earth  she  still 
must  breathe.  Sieglinde  shall  not  see  Siegmund 
there."  Then  furiously  answers  Siegmund,  "Then 
farewell  to  Walhalla !  Where  Sieglinde  lives,  in 
bliss  or  blight,  there  Siegmund  will  also  tarry,"  and 
he  raises  his  sword  over  his  unconscious  sister. 
Moved  by  his  great  love  and  sorrow,  Briinnhilde 
for  the  first  time  is  swayed  by  human  emotions,  and 
exultantly  declares,  "  I  will  protect  thee."  Hund- 
ing's  horn  sounds  in  the  distance,  and  soon  is  heard 
his  defiant  challenge  to  battle.  Siegmund  rushes 
to  the  top  of  one  of  the  cloudy  summits,  and  the 
clash  of  their  arms  resounds  in  the  mists.  A  sudden 
gleam  of  light  shows  Briinnhilde  hovering  over  Sieg-- 
mund,  and  protecting  him  with  her  shield.  As  he 
prepares  himself  to  deal  a  deadly  thrust  at  Hund- 
ing,  the  angry  Wotan  appears  in  a  storm-cloud  and 
interposes  his  spear.  Siegmund's  sword  is  shivered 
to  pieces.  Hunding  pierces  his  disarmed  enemy, 
and  he  falls  mortally  wounded.  Briinnhilde  lifts  the 
insensible  Sieglinde  upon  her  steed  and  rides  away 
with  her.  Wotan,  leaning  upon  his  spear,  gazes 
sorrowfully  at  the  dying  Volsung,  and  then  turning 
to  Hunding,  so  overcomes  him  with  his  contemptu- 
ous glance  that  he  falls  dead  at  his  feet.  "But 


328  THE  STANDARD   OPERAS. 

Briinnhiide,  woe  to  the  traitor.  Punishment  dire  is 
due  to  her  treason.  To  horse,  then.  Let  ven- 
geance speed  swiftly."  And  mounting  his  steed  he 
disappears  amid  thunder  and  lightning. 

The  last  act  opens  in  a  rocky  glen  filled  with  the 
Valkyres  calling  to  each  other  from  summit  to 
summit  with  wild  cries  as  they  come  riding  through 
the  clouds  after  the  combat,  bearing  the  dead  bodies 
of  the  warriors  on  their  saddles.  The  scene  is 
preluded  with  an  orchestral  number,  well  known  in 
the  concert-room  as  the  "  Ride  of  the  Valkyres," 
which  is  based  upon  two  motives,  the  Valkyre's 
call  and  the  Valkyre  melody.  In  picturesque  de- 
scription of  the  rush  and  dash  of  steeds,  amid 
which  are  heard  the  wild  cries  of  the  sisters,  "  The 
Ride  "  is  one  of  the  most  powerful  numbers  ever 
written.  Briinnhiide  arrives  among  the  exultant 
throng  in  tears,  bearing  Sieglinde  with  her.  She 
gives  her  the  fragments  of  Siegmund's  sword,  and 
appeals  to  the  other  Valkyres  to  save  her.  She 
bids  Sieglinde  live,  for  "  thou  art  to  give  birth  to  a 
Volsung,"  and  to  keep  the  fragments  of  the  sword. 
"  He  that  once  brandishes  the  sword,  newly  welded, 
let  him  be  named  Siegfried,  the  winner  of  victory." 
Wotan's  voice  is  now  heard  angrily  shouting  through 
the  storm-clouds,  and  calling  upon  Briinnhiide,  who 
vainly  seeks  to  conceal  herself  among  her  sisters. 
He  summons  her  forth  from  the  group,  and  she 
comes  forward  meekly  but  firmly  and  awaits  her 
punishment.  He  taxes  her  with  violating  his  com- 
mands; to  which  she  replies,  "I  obeyed  not  thy 


SIEGFRIED. 


329 


order,  but  thy  secret  wish."  The  answer  does  not 
avail,  and  he  condemns  her  to  sleep  by  the  way- 
side, the  victim  of  the  first  who  passes.  She  pas- 
sionately pleads  for  protection  against  dishonor,  and 
the  god  consents.  Placing  her  upon  a  rocky  couch 
and  kissing  her  brow,  he  takes  his  farewell  of  her  in 
a  scene  which  for  majestic  pathos  has  never  been 
excelled.  One  forgets  Wotan  and  the  Valkyre.  It 
is  the  last  parting  of  an  earthly  father  and  daughter, 
illustrated  with  music  which  is  the  very  apotheosis 
of  grief.  He  then  conjures  Loge,  the  god  of  fire ; 
and  as  he  strikes  his  spear  upon  the  rock,  flames 
spring  up  all  about  her.  Proudly  he  sings  in  the 
midst  of  the  glare  :  — 

"  Who  fears  the  spike 
Of  my  spear  to  face, 
He  will  not  pierce  the  planted  fire,"  — 

a  melody  which  is  to  form  the  motive  of  the  hero 
Siegfried  in  the  next  division  of  the  work  —  and  the 
curtain  falls  upon  a  scene  which  for  power,  beauty, 
and  majesty  has  not  its  equal  on  the  lyric  stage. 


The  second  division  of  the  tragedy,  "  Siegfried,''" 
might  well  be  called  an  idyl  of  the  forest.  Its  music 
is  full  of  joyousness  and  delight.  In  place  of  the 
struggles  of  gods  and  combats  of  fierce  warriors, 
the  wild  cries  of  Valkyres  and  the  blendings  of 


33°  THE    STANDARD    OPERAS. 

human  passions  with  divine  angers,  we  have  the 
repose  and  serenity  of  nature,  and  in  the  midst  of 
it  all  appears  the  hero  Siegfried,  true  child  of  the 
woods,  and  as  full  of  wild  joyousness  and  exultant 
strength  as  one  of  their  fauns  or  satyrs.  It  is  a 
wonderful  picture  of  nature,  closing  with  an  ecstatic 
vision  of  love. 

After  the  death  of  Siegmund,  Sieglinde  takes 
refuge  in  the  depths  of  the  forest,  where  she  gives 
birth  to  Siegfried.  In  her  dying  moments  she 
intrusts  him  to  Mime,  who  forged  the  ring  for 
Alberich  when  he  obtained  possession  of  the  Rhine- 
gold.  The  young  hero  has  developed  into  a  hand- 
some, manly  stripling,  who  dominates  the  forests 
and  holds  its  wild  animals  subject  to  his  will.  He 
calls  to  the  birds  and  they  answer  him.  He  chases 
the  deer  with  leaps  as  swift  as  their  own.  He 
seizes  the  bear  and  drags  him  into  Mime's  hut,  much 
to  the  Nibelung's  alarm.  But  while  pursuing  the 
wild,  free  life  in  the  forest,  he  has  dreams  of  greater 
conquests  than  those  over  nature.  Heroic  deeds 
shape  themselves  in  his  mind,  and  sometimes  they 
are  illuminated  with  dim  and  mysterious  visions  of 
a  deeper  passion.  In  his  interviews  with  Mime  he 
questions  him  about  the  world  outside  of  the  forest, 
its  people  and  their  actions.  He  tires  <j>f  the  woods, 
and  longs  to  get  away  from  them.  ^  Mime  then 
shows  him  the  fragments  of  his  father's  sword,  which 
had  been  shattered  upon  Wotan's  spear,  the  only 
legacy  left  her  son  by  Sieglinde,  and  tells  him  that 
he  who  can  weld  them  together  again  will  have 


SIEGFRIED.  331 

power  to  conquer  all  before  him.  Mime  had  long 
tried  to  forge  a  sword  for  Siegfried,  but  they  were 
all  too  brittle,  nor  had  he  the  skill  to  weld  together 
the  fragments  of  Siegmund's  sword,  Nothung.  The 
only  one  who  can  perform  that  task  is  the  hero 
without  fear.  One  day  Siegfried  returns  from  a 
hunting  expedition  and  undertakes  it  himself.  He 
files  the  fragments  into  dust  and  throws  it  into  the 
crucible,  which  he  places  on  the  fire  of  the  forge. 
Then  while  blowing  the  bellows  he  sings  a  trium- 
phant song  ("  Nothung !  Nothung !  neidliches 
Schwert"),  which  anticipates  the  climax  towards 
which  all  the  previous  scenes  have  led.  As  he 
sings  at  his  work  Mime  cogitates  how  he  shall 
thwart  his  plans  and  get  possession  of  the  sword. 
He  plots  to  have  him  kill  Fafner,  the  giant,  who 
has  changed  himself  into  a  dragon,  for  the  more 
effectual  custody  of  the  Rhine-treasure  and  the 
ring.  Then  when  Siegfried  has  captured  the  treas- 
ure he  will  drug  him  with  a  poisoned  broth,  kill  him 
with  the  sword,  and  seize  the  gold.  Siegfried  pours 
the  melted  steel  into  a  mould,  thrusts  it  into  the 
water  to  cool,  and  then  bursts  out  into  a  new  song, 
accompanied  by  anvil  blows,  as  he  forges  and  tem- 
pers it,  the  motive  of  which  has  already  been  heard 
in  the  "  Rhinegold  "  prelude,  when  Alberich  made 
his  threat.  While  Mime  quietly  mixes  his  potion, 
Siegfried  fastens  the  hilt  to  his  blade  and  polishes 
the  sword.  Then  breaking  out  in  a  new  song,  in 
which  are  heard  the  motives  of  the  fire-god  and  the 
sword,  he  swings  it  through  the  air,  and  bringing  it 


332  THE    STANDARD    OPERAS. 

down  with  force  splits  the  anvil  in  twain.  The 
music  accompanying  this  great  scene,  imitating  the 
various  sounds  of  the  forge,  the  flutter  of  the  fire, 
the  hissing  of  the  water,  the  filing  of  the  sword,  and 
the  blows  upon  the  anvil,  is  realism  carried  to  the 
very  extreme  of  possibilities. 

The  great  exploit  has  been  successful,  and  Sieg- 
fried at  last  has  Siegmund's  sword.  Mime  takes 
him  to  the  cave  where  Fafner,  the  giant-dragon, 
guards  the  gold.  Siegfried  slays  the  monster,  and 
laughs  over  the  ease  of  the  task.  His  finger  is 
heated  with  the  dragon's  blood,  and  as  he  puts  it 
to  his  lips  to  cool  it  he  tastes  the  blood,  and  thus 
learns  the  language  of  the  birds.  He  cares  nought 
for  the  treasure,  and  takes  only  the  ring  and  a 
magic  helmet,  which  enables  the  wearer  to  assume 
any  form.  After  the  contest  he  throws  himself  at 
the  foot  of  a  tree  in  the  forest  and  dreamily  listens 
to  the  "Waldweben,"  the  rustle  and  mysterious 
stirrings  of  the  woods.  Amid  all  these  subtle, 
soothing  sounds,  pierced  now  and  then  with  the 
songs  of  the  birds,  and  distant  cries  in  far-away 
sylvan  recesses,  he  realizes  that  he  is  alone,  while 
his  old  companions  of  the  woods  are  together.  He 
thinks  of  the  mother  whom  he  has  never  known, 
and  of  that  mysterious  being  whom  he  has  never 
seen,  who  should  make  the  companionship  he 
observes  among  the  birds.  The  passion  of  love 
begins  to  assert  itself  vaguely  and  strangely,  but 
full  soon  it  will  glow  out  with  ardent  flame.  A  bird 
flying  over  his  head  sings  to  him.  He  can  under- 


SIEGFRIED.  333 

stand  its  song  and  fancies  it  his  mother's  voice 
coming  to  him  in  the  bird-notes.  It  tells  him  now 
he  has  the  treasure,  he  should  save  the  most  beau- 
tiful of  women  and  win  her  to  himself.  "  She  sleeps 
upon  a  rock,  encircled  with  flames ;  but  shouldst 
thou  dare  to  break  through  them,  the  warrior-virgin 
is  thine."  The  bird  wings  its  flight  through  the 
forest,  and  Siegfried,  joyously  seizing  his  sword,  fol- 
lows it  with  swift  foot,  for  he  knows  it  is  guiding 
him  to  Briinnhilde.  The  time  for  great  deeds  has 
come.  The  wild,  free  life  of  the  forest  is  over. 

The  third  act  once  more  shows  us  the  god  Wotan 
still  plunged  in  gloom.  Gazing  into  a  deep  abyss, 
he  summons  Erda,  who  knows  the  destiny  of  all  the 
world,  to  question  her  again  as  to  the  twilight  of 
the  gods.  The  mysterious  figure  appears  at  his  bid- 
ding, but  has  nothing  further  to  communicate.  Their 
doom  is  certain.  The  fearless  race  of  men  is  des- 
tined to  efface  the  gods,  and  Walhalla  must  disappear. 
The  hero  is  at  hand,  and  coming  rapidly.  The  de- 
spairing Wotan,  who  appears  in  this  scene  as  "  Der 
Wanderer"  (the  wanderer),  cries  out,  "So  be  it. 
It  is  to  this  end  I  aspire."  He  turns  gloomily  away, 
and  confronts  Siegfried  bounding  from  rock  to  rock 
like  a  deer,  still  following  his  airy  guide.  The  god 
angrily  tries  to  bar  his  way,  but  in  vain.  His  lance 
is  shattered  at  a  single  blow  of  the  sword  Nothung, 
which  he  himself  had  once  so  easily  shivered.  It 
is  the  first  catastrophe  of  the  final  fate  which  is  ap- 
proaching. The  hero  without  fear  has  come,  the 
free  will  of  man  has  be"un  to  manifest  itself.  The 


334  THE    STANDARD    OPERAS, 

power  of  the  gods  is  breaking.  Joyously  Siegfried 
rushes  on  over  the  rocks.  He  is  soon  bathed  in  the 
glow  of  the  fire,  which  casts  weird  shadows  through 
the  wild  glen.  Now  the  burning  wall  of  red  flames 
is  before  him.  With  a  ringing  cry  of  exultation  he 
dashes  through  them,  and  before  him  lies  the  sleep- 
ing maiden  in  her  glistening  armor.  Mad  with  her 
beauty  and  his  own  overpowering  passion,  he  springs 
to  her  side  and  wakes  her  with  a  kiss.  The  Vol- 
sung  and  the  Valkyr  gaze  at  each  other  a  long  time 
in  silence.  Briinnhilde  strives  to  comprehend  her 
situation,  and  to  recall  the  events  that  led  up  to  her 
penalty,  while  love  grows  within  her  for  the  hero 
who  has  rescued  her,  and  Siegfried  is  transfixed  by 
the  majesty  of  the  maiden.  As  she  comes  to  herself 
and  fully  realizes  who  is  the  hero  before  her  and 
foresees  the  approaching  doom,  she  earnestly  appeals 
to  him :  — 

"  Leave,  ah,  leave, 
Leave  me  unlost, 
Force  on  me  not 
Thy  fiery  nearness. 
Shiver  me  not 
With  thy  shattering  will, 
And  lay  me  not  waste  in  thy  love." 

What  is  preordained  cannot  be  changed.  Sieg- 
fried replies  with  growing  passion,  and  Briinnhilde 
at  last  yields,  and  the  two  join  in  an  outburst  of  ex- 
ultant song : — 


DIE  GOTTERDAMMERUNG.  335 

"  Away,  Walhalla, 
In  dust  crumble 
Thy  myriad  towers. 
Farewell,  greatness, 
And  gift  of  the  gods. 
You,  Norns,  unravel 
The  rope  of  runes. 
Darken  upwards, 
Dusk  of  the  gods. 
Night  of  annulment, 
Draw  near  with  thy  cloud. 
I  stand  in  sight 
Of  Siegfried's  star. 
For  me  he  was, 
And  for  me  he  will  ever  be." 

With  this  great  duet,  which  is  one  of  the  most 
extraordinary  numbers  in  the  trilogy  for  dramatic 
power  and  musical  expression  of  human  emotion, 
this  division  closes. 


PIC  (Sb'tterb-ammenmg. 

The  last  division  of  the  tragedy  opens  under  the 
shade  of  a  huge  ash- tree  where  the  three  Fates  sit 
spinning  and  weaving  out  human  destinies.  As 
they  tosci  their  thread  from  one  to  the  other,  —  the 
thread  ;hey  have  been  spinning  since  time  be- 
gan,—  they  foresee  the  gloom  which  is  coming. 
Suddenly  it  snaps  in  their  fingers,  whereupon  the 
dark  sisters  crowding  closely  together  descend  to 
the  depths  of  the  earth  to  consult  with  the  ancient 
Erda  and  seek  shelter  near  her.  Meanwhile  as  day 


33^  THE    STANDARD    OPERAS. 

breaks  Siegfried  and  Briinnhilde  emerge  from  the 
glen  where  they  have  been  reposing  in  mutual  hap- 
piness. Briinnhilde  has  told  her  lover  the  story  of 
the  gods  and  the  secrets  of  the  mystic  runes,  but  he 
is  still  unsatisfied.  His  mission  is  not  yet  fulfilled. 
He  must  away  to  perform  new  deeds.  Before  he 
leaves  her  he  gives  her  the  ring  as  his  pledge  of 
fidelity,  and  they  part,  after  exchanging  mutual  vows 
of  love  and  constancy. 

In  his  search  for  further  exploits,  Siegfried  arrives 
at  the  dwelling  of  Gunter,  a  powerful  Rhenish  chief, 
head  of  the  Gibichungen,  another  race  of  heroes, 
where  also  resides  Gutrune,  his  fascinating  sister, 
and  the  evil  Hagen,  begotten  by  Alberich  of  Crim- 
hilda,  Gunter's  mother,  who  was  the  victim  of  his 
gold.  Alberich's  hatred  of  the  gods  and  all  con- 
nected with  them  is  shared  by  his  son,  who  has  been 
charged  by  the  Nibelung  to  recover  the  gold.  From 
this  point  the-  tragic  denouement  rapidly  progresses. 
Siegfried's  horn  is  heard  in  the  distance,  and  he  soon 
crosses  Gunter's  threshold,  where  his  ruin  is  being 
plotted  by  the  sinister  Hagen.  He  is  hospitably 
received,  and  at  Hagen's  bidding  Gutrune  pours  out 
and  offers  him  a  draught  so  cunningly  mixed  that 
it  will  efface  all  past  remembrances.  He  is  com- 
pletely infatuated  with  the  girl's  beauty,  and  as  the 
potion  takes  effect,  the  love  for  Briinnhilde  dis- 
appears. He  demands  Gutrune  in  marriage,  and 
Hagen  promises  her  upon  condition  that  he  will 
bring  Brimnhilde  as  a  bride  for  Gunter.  Siegfried 
departs  upon  the  fatal  errand,  and  after  taking  from 


DIE   GOTTERDAMMERUNG.  337 

tier  the  ring  drags  her  by  force  to  deliver  her  to 
Gunter.  The  Valkyr  rises  to  a  sublime  height  of 
anger  over  her  betrayal,  and  dooms  Siegfried  to 
death  in  the  approaching  hunt,  for  by  death  alone 
she  knows  that  she  can  regain  his  love. 

The  last  act  opens  in  a  rocky  glen  on  the  banks 
of  the  Rhine,  the  ripple  of  whose  waters  is  repeated 
in  the  melody  of  "  The  Rhinegold."  Siegfried  is 
separated  from  his  companion,  and  while  alone,  the 
song  of  the  Rhine-daughters  is  heard.  They  rise  to 
the  surface  of  the  gleaming  water  and  demand  their 
gold,  but  Siegfried  refuses  to  restore  it.  They  warn 
him  again  to  fly  from  the  curse,  but  he  proudly  ex- 
claims that  his  sword  is  invincible  and  can  crush  the 
Norns.  Sadly  they  float  away  to  the  sound  of  harps 
shimmering  over  the  water.  Gunter's  horn  is  heard 
among  the  hills,  and  Siegfried  exultantly  answers  it. 
The  huntsmen  assemble  and  prepare  for  a  feast. 
Siegfried  relates  his  adventure  with  the  Rhine- 
daughters,  and  when  Hagen  asks  him  if  it  is  true 
that  he  can  understand  the  language  of  the  birds,  he 
tells  the  whole  story  of  his  life  in  the  "  Rheinfahrt," 
a  song  built  up  of  all  the  motives  which  have  been 
heard  in  the  "  Siegfried  "  division,  —  the  melody  of 
the  sword,  the  stir  of  the  woods,  the  song  of  the 
mysterious  bird,  Mime's  enticement,  the  love  of 
Briinnhilde,  and  the  flaming  fire  following  each  other 
in  rapid  and  brilliant  succession  through  the  meas- 
ures of  the  picturesque  description.  As  the  song 
dies  away,  two  ravens,  messengers  of  ill-omen,  fly 
across  the  stage.  The  curse  motive  sounds  gloomily 


338      THE  STANDARD  OPERAS. 

through  the  orchestra.  Hagen  springs  to  his  feet 
and  suddenly  and  treacherously  plunges  his  spear 
into  Siegfried's  back,  then  sullenly  leaves  and  dis- 
appears among  the  rocks.  The  hero  falls  to  the 
earth  and  dies,  breathing  Briinnhilde's  name,  for  in 
the  last  supreme  moment  the  spell  of  Hagen's  draught 
passes  away.  With  his  last  breath  he  breaks  out  in 
a  death-song  of  surpassing  beauty  and  majesty,  in 
which  the  motives  are  those  of  the  Volsung  and 
the  Valkyr,  as  well  as  of  the  destiny  which  is  to  re- 
unite them  in  death.  Once  more  he  murmurs  the 
name  of  Briinnhilde,  and  then  his  companions  ten- 
derly place  him  upon  his  shield,  and  lifting  him  upon 
their  shoulders  carry  him  to  the  misty  summits  and 
disappear  in  the  cloud,  to  the  mighty  and  impressive 
strains  of  a  funeral  march,  built  up  on  the  motives 
of  Siegmund,  the  love- duet  of  Siegmund  and  Sieg- 
linde,  the  sword  and  Volsung  motives,  and  Siegfried's 
great  theme.  In  the  interweaving  of  these  motives 
and  their  sombre  coloring,  in  massive  fortissimo  and 
crescendo  effects,  in  expressive  musical  delineation, 
and  in  majestic  solemnity,  the  Siegfried  funeral 
march  must  take  precedence  of  all  other  dirges. 
In  truth  it  is  a  colossal  and  heroic  funeral  poem  fit 
to  celebrate  the  death  of  a  demigod.  In  the  last 
scene  Siegfried's  body  is  borne  back  to  the  hall  of 
the  Gibichungs  amid  loud  lamenting.  When  Gu- 
trune  learns  what  has  occurred,  she  bitterly  curses 
Hagen  and  throws  herself  on  Siegfried's  corpse. 
Hagen  and  Gunter  quarrel  for  the  possession  of  the 
ring,  and  Gunter  is  slain ;  but  when  Hagen  tries  to 


DIE   GOTTERDAMMERUN'G.  339 

take  the  ring,  the  hand  of  the  dead  hero  is  raised  in 
warning.  Then  Briinnhilde  solemnly  and  proudly 
advances  in  the  light  of  the  torches  and  bids  the 
empty  clamor  cease,  for  "  this  is  no  lamenting  worthy 
of  a  hero."  She  orders  a  funeral  pyre  to  be  built, 
and  Siegfried  is  laid  thereon.  She  contemplates  the 
dead  hero  with  passionate  love  and  sadness,  and 
then  solemnly  turning  to  those  about  her,  exclaims  : 
"  Those  who  efface  the  fault  of  the  gods  are  predes- 
tined to  suffering  and  death.  Let  one  sacrifice  end 
the  curse.  Let  the  Ring  be  purified  by  fire,  the 
waters  dissolve  it  forever.  The  end  of  the  gods  is 
at  hand.  But  though  I  leave  the  world  masterless, 
I  give  it  this  precious  treasure.  In  joy  or  in  suf- 
fering, happiness  can  alone  come  from  love."  She 
seizes  a  burning  brand,  and  invoking  Loge,  god  of 
fire,  flings  it  into  the  pyre.  Her  horse  is  brought  to 
her,  and  she  proudly  mounts  it :  — 

"  Grane,  my  horse, 
Hail  to  thee  here  ! 
Knowest  thou,  friend, 
How  far  I  shall  need  thee  ? 
Heiaho!   Grane  1 
Greeting  to  him. 
Siegfried!  See,  Briinnhilde 
Joyously  hails  thee,  thy  bride." 

She  swings  herself  upon  her  steed  and  dashes 
into  the  furious  flames.  At  last  they  die  away,  and 
the  Rhine  rushes  forward  from  its  banks  and  covers 
the  pyre.  The  exultant  Rhine-daughters  are  swim- 
ming in  the  flood,  for  Briinnhilde  has  thrown  them 


34°  THE    STANDARD    OPERAS. 

the  ring.  Hagen  makes  a  last  desperate  effort  to 
clutch  it,  but  Woglinde  and  Wellgunde  wind  their 
arms  about  him,  and  as  they  drag  him  into  the 
depths  Flosshilde  holds  the  ring  above  the  waters, 
and  the  exultant  song  of  the  Rhine-daughters  is 
heard  above  the  swelling  tide,  while  far  in  the  dis- 
tance a  red  flame  spreads  among  the  clouds.  Wal- 
halla  is  blazing  in  the  sky.  The  Dusk  of  the  Gods 
has  come.  Reparation  has  been  made.  The  hero 
without  fear  is  victorious.  Free  will,  independent 
of  the  gods,  will  rule  the  world,  and  the  gods  them- 
selves are  lost  in  the  human  creation.  Love  is 
given  to  men,  and  conquers  death. 

Parsifal. 

"  Parsifal,"  a  "  Biihnemveihfestspiel "  (festival 
acting-drama),  words  by  Wagner,  was  concluded 
in  1879,  and  first  produced  at  Baireuth,  July  22, 
1882,  only  about  seven  months  before  the  distin- 
guished composer's  death,  with  Mme.  Friedrich- 
Materna  as  Kundry,  Herr  Winckelmann  as  Parsifal, 
and  Herr  Scaria  as  Gurnemanz. 

The  theme  of  the  opera  is  taken  from  the  cycle 
of  Holy  Grail  myths  to  which  "  Lohengrin  "  also 
belongs.  The  reader  will  remember  that  Lohengrin 
in  his  final  address  declares  himself  son  of  Parsi- 
fal, the  King  of  the  Grail ;  and  it  is  with  this  Par- 
sifal that  Wagner's  last  work  is  concerned.  Parsifal, 
like  Siegfried,  represents  free  human  nature  in  its 
spontaneous,  impulsive  action.  He  is  styled  in  the 


PARSIFAL.  341 

text,  "Der  reine  Thor  "  (the  guileless  fool),  who, 
in  consonance  with  the  old  mythological  idea,  over- 
comes the  evil  principle  and  gains  the  crown  by 
dint  of  pure  natural  impulse.  The  opera  differs 
widely  from  "The  Nibelung  Ring."  The  com- 
poser has  used  the  free  instead  of  the  alliterative 
form  of  verse,  which  he  then  contended  was  best 
adapted  to  musical  setting.  In  "The  Ring"  the 
chorus  is  not  introduced  at  all  until  the  last  division 
is  reached,  while  in  "  Parsifal  "  it  plays  an  important 
part  in  every  act,  in  the  second  scene  of  the  first 
act  there  being  three  choirs  on  the  stage  at  a  time. 
Still  there  is  no  trace  of  the  aria,  the  duet,  or  the 
recitative,  of  the  Italian  style, though  there  is  plenty 
of  concerted  music,  which  grows  out  of  the  dra- 
matic necessities  of  the  situations.  When  these 
necessities  do  not  urge  themselves,  the  music  flows 
on  in  dialogue  form,  as  in  "  The  Ring." 

The  vorspiel  is  based  upon  three  motives  con- 
nected with  the  mystery  of  the  Grail,  which  forms 
the  key-note  of  the  opera,  though  in  a  different 
aspect  from  that  which  the  Grail  assumes  in  "  Lo- 
hengrin," where  it  can  only  be  visible  to  the  eye  of 
faith,  while  in  "  Parsifal "  it  distinctly  performs  its 
wonders.  Let  it  be  remembered  that  the  Grail  is 
the  chalice  from  which  Christ  drank  with  his  dis- 
ciples at  the  Last  Supper,  and  in  which  his  blood 
was  received  at  the  cross.  The  first  of  these  mo- 
tives is  of  the  same  general  character  as  the  Grail 
motive  in  the  "Lohengrin"  vorspiel;  the  second 
is  an  impressive  phrase  for  trumpets  and  trombones, 


342  THE    STANDARD    OPERAS. 

which  will  be  heard  again  when  the  Knights  of  the 
Grail  are  summoned  to  their  duties ;  and  the  third 
is  a  broad,  dignified  melody  in  the  chorale  form. 
y  The  action  of  the  drama  occurs  in  the  north  of 
Spain,  and  in  the  vicinity  of  Monsalvat,  the  Castle 
of  the  Holy  Grail,  where  this  chalice  was  brought 
by  angels  when  Christianity  was  in  danger.  The 
curtain  rises  upon  a  lovely  forest  glade  on  the 
borders  of  a  lake,  at  daybreak,  and  discovers  the 
Grail  Knight,  Gurnemanz,  and  two  young  shield- 
bearers,  guardians  of  the  castle,  sleeping  at  the 
foot  of  a  tree.  Trumpet-calls,  repeating  the  mo- 
tive first  heard  in  the  prelude,  arouse  them  from 
their  sleep;  and  as  they  offer  up  their  morning 
prayer  the  chorale  is  heard  again.  As  they  wend 
their  way  to  the  castle,  they  meet  two  knights  pre- 
ceding the  litter  upon  which  the  wounded  Amfortas, 
King  of  the  Grail,  is  carried.  In  the  subsequent 
dialogue  Gurnemanz  tells  the  story  of  the  King's 
mishap.  He  is  suffering  from  a  wound  which  re- 
fuses to  close,  and  which  has  been  inflicted  by  the 
sacred  spear,  —  the  spear,  according  to  the  legend, 
with  which  our  Saviour's  side  was  pierced.  Kling- 
sor,  a  magician,  had  aspired  to  become  a  knight  of 
the  Grail,  but  his  application  was  refused ;  for  only 
those  of  holy  lives  could  watch  the  sacred  vessel 
and  perform  its  ministrations.  In  revenge,  Kling- 
sor  studied  the  magic  arts  and  created  for  himself 
a  fairy  palace,  which  he  peopled  with  beautiful 
women,  whose  sole  duty  it  was  to  seduce  the 
Knights  of  the  Grail.  One  of  these  women,  a  mys- 


PARSIFAL.  343 

terious  creature  of  wonderful  fascinations,  Kundry 
by  name,  had  beguiled  Anifortas,  who  thus  fell  into 
the  power  of  Klingsor.  He  lost  his  spear,  and  re- 
ceived from  it  a  wound  which  will  never  heal  so 
long  as  it  remains  in  the  hands  of  the  magician. 
In  a  vision  he  has  been  told  to  wait  for  the  one 
who  has  been  appointed  to  cure  him.  A  voice 
from  the  Grail  tells  him  the  following  mystery :  — 

"  Durch  Mitleid  wissend, 

Der  reine  Thor, 
Harre  sein* 
Den  ich  erkor." 1 

Meanwhile,  as  the  shield-bearers  are  carrying 
Amfortas  towards  the  lake,  the  savage,  mysterious 
Kundry  is  seen  flying  over  the  fields.  She  over- 
takes Gurnemanz  and  gives  him  a  balm,  saying  that 
if  it  will  not  help  the  King,  nothing  in  Arabia 
can,  and  then,  refusing  to  accept  thanks  or  reveal 
her  identity,  sinks  to  the  ground  in  weariness. 
The  King  takes  the  drug  with  gratitude ;  but  she 
scorns  thanks,  and  sneers  at  those  about  her  with 
savage  irony.  Gurnemanz's  companions  are  about 
to  seize  her,  but  the  old  Knight  warns  them  that 
she  is  living  incarnate  to  expiate  the  sins  of  a  for- 
mer life,  and  that  in  serving  the  Order  of  the  Grail 
she  is  purchasing  back  her  own  redemption.  As 
Gurnemanz  concludes,  cries  are  heard  in  the  wood, 
and  two  knights,  approaching,  announce  that  a 

1  "Let  a  guileless  fool  only,  knowing  by  compassion, 
await  him  whom  I  have  chosen." 


344  THE    STANDARD    OPERAS. 

swan,  the  bird  sacred  to  the  Grail,  which  was  wing- 
ing its  way  over  the  lake,  and  which  the  King  had 
hailed  as  a  happy  omen,  has  been  shot.  Parsifal, 
the  murderer,  is  dragged  in,  and  when  questioned 
by  Gurnemanz,  is  unaware  that  he  has  committed 
any  offence.  To  every  question  he  only  answers 
he  does  not  know.  When  asked  who  is  his  mother, 
Kundry  answers  for  him  :  "  His  mother  brought  him 
an  orphan  into  the  world,  and  kept  him  like  a  fool 
in  the  forest,  a  stranger  to  arms,  so  that  he  should 
escape  a  premature  death ;  but  he  fled  from  her 
and  followed  the  wild  life  of  nature.  Her  grief  is 
over,  for  she  is  dead."  Whereupon  Parsifal  flies  at 
her  and  seizes  her  by  the  throat ;  but  Gurnemanz 
holds  him  back,  and  Kundry  sinks  down  exhausted. 
Parsifal  answers  to  the  "  Thor,"  but  it  remains  to 
be  seen  whether  he  is  the  "reine  Thor."  Gurne- 
manz conducts  him  to  the  temple  where  the  holy 
rites  of  the  Grail  are  to  be  performed,  hoping  he  is 
the  redeemer  whom  the  Grail  will  disclose  when 
the  love-feast  of  the  Saviour  is  celebrated. 

The  scene  changes  to  the  great  hall  of  the  castle 
and  the  celebration  of  the  feast  of  the  Grail.  The 
scene  is  introduced  with  a  solemn  march  by  full 
orchestra,  including  trombones  on  the  stage,  ac- 
companied by  the  clanging  of  bells  as  the  knights 
enter  in  stately  procession.  They  sing  a  pious 
chant  in  unison,  the  march  theme  still  sounding. 
As  the  younger  squires  and  pages  enter,  a  new 
melody  is  taken  in  three-part  harmony,  and  finally 
an  unseen  chorus  of  boys  from  the  extreme  height 


PARSIFAL.  345 

of  the  dome  sing  the  chorale  from  the  introduction, 
without  accompaniment,  in  imitation  of  angel  voices. 
The  shield-bearers  bring  in  Amfortas  upon  his  litter, 
when  suddenly  from  a  vaulted  niche  is  heard  the 
voice  of  Titurel,  Amfortas's  aged  father,  and  the 
founder  of  Monsalvat,  now  too  feeble  to  perform 
the  holy  offices,  bidding  the  Grail  to  be  uncovered. 
Amfortas,  mourning  that  he,  the  unholiest  of  them, 
should  be  called,  opens  a  golden  shrine  and  takes 
out  the  crystal  vessel.  Darkness  falls  upon  the 
hall,  but  the  Grail  is  illuminated  with  constantly 
increasing  brilliancy,  while  from  the  dome  the  chil- 
dren's voices  sing,  "  Take  My  blood  in  the  name 
of  our  love,  and  take  My  body  in  remembrance  of 
me."  Parsifal  watches  the  scene  with  bewildered 
eyes,  but  upon  saying  in  reply  that  he  does  not 
understand  the  holy  rite,  he  is  contemptuously 
ejected  from  the  place. 

The  second  act  reveals  Klingsor's  enchanted 
palace.  The  magician  gazing  into  a  mirror  sees 
Parsifal  approaching,  and  knows  he  is  the  redeemer 
who  has  been  promised.  He  summons  Kundry 
before  him,  and  commands  her  to  tempt  him  with 
her  spells.  She  struggles  against  the  task,  for  in 
her  soul  the  powers  of  good  and  evil  are  always 
contending  for  the  mastery.  She  longs  for  eternal 
sleep,  and  rest  from  her  evil  passions,  but  Klingsor 
holds  her  in  his  power.  Parsifal  enters,  and  the 
scene  changes  to  a  delightful  garden  filled  with  girls 
of  ravishing  beauty  in  garments  of  flowers.  They 
crowd  about  him,  and  by  their  fascinating  blandish' 


346  THE    STANDARD    OPERAS. 

ments  seek  to  gain  his  love,  but  in  vain.  He  is 
still  the  "  guileless  fool."  Then  Kundry  appears  in 
all  her  loveliness,  and  calls  him  by  name,  the  name 
he  had  heard  his  mother  speak.  He  sorrowfully 
sinks  at  Kundry's  feet.  The  enchantress  bends  over 
him,  appeals  to  him  through  his  longing  for  his 
mother,  and  kisses  him.  Instantly  he  comprehends 
all  that  he  has  seen,  and  he  cries,  "The  wound 
burns  in  my  heart,  oh,  torment  of  love  !  "  Then 
quickly  rising  he  spurns  her  from  him.  He  has 
gained  the  world-knowledge.  She  flies  to  him 
again,  and  passionately  exclaims,  "  The  gift  of  my 
love  would  make  thee  divine.  If  this  hour  has 
made  thee  the  redeemer,  let  me  suffer  forever,  but 
give  me  thy  love."  He  spurns  her  again,  and 
cries,  "  To  all  eternity  thou  wouldst  be  damned 
with  me,  if  for  one  hour  I  should  forget  my  mis- 
sion," but  says  he  will  save  her  too,  and  demands  to 
know  the  way  to  Amfortas.  In  rage  she  declares 
he  shall  never  find  it,  and  summons  the  help  of 
Klingsor,  \yho  hurls  the  sacred  lance  at  Parsifal. 
The  weapon  remains  suspended  over  his  head.  He 
seizes  it  and  makes  the  sign  of  the  cross.  The  gar- 
dens and  castle  disappear.  Parsifal  and  Kundry  are 
alone  in  a  desert.  She  sinks  to  the  ground  with  a 
mournful  cry,  and  turning  from  her,  his  last  words 
are,  "  Thou  knowest  where  only  thou  canst  see  me 
again." 

In  the  third  act  we  are  again  in  the  land  of  the 
Grail.  Parsifal  has  wandered  for  years  trying  to 
find  Monsalvat,  and  at  last  encounters  Gurnemanz, 


PARSIFAL. 


34; 


now  a  very  old  man,  living  as  a  hermit  near  a  forest 
spring,  and  the  saddened  Kundry  is  serving  him. 
It  is  the  Good  Friday  morning,  and  forests  and 
fields  are  bright  with  flowers  and  the  verdure  of 
spring.  Gurnemanz  recognizes  him,  and  in  reply  to 
his  question  what  makes  the  world  so  beautiful,  the 
aged  knight  makes  answer :  — 

"  The  sad  repentant  tears  of  sinners 
Have  here  with  holy  rain 
Besprinkled  field  and  plain, 
And  made  them  glow  with  beauty. 
All  earthly  creatures  in  delight 
At  the  Redeemer's  trace  so  bright, 
Uplift  their  prayers  of  duty. 
And  now  perceive  each  blade  and  meadow  flower, 
That  mortal  foot  to-day  it  need  not  dread." 

Kundry  washes  "  the  dust  of  his  long  wander- 
ings "  from  his  feet,  and  looks  up  at  him  with  ear- 
nest and  beseeching  gaze.  Gurnemanz  recognizes 
the  sacred  spear,  hails  him  as  the  King  of  the  Grail, 
and  offers  to  conduct  him  to  the  great. hall  where 
the  holy  rites  are  once  more  to  be  performed.  Be- 
fore they  leave,  Parsifal's  first  act  as  the  redeemer 
is  to  baptize  Kundry  with  water  from  the  spring. 
The  sound  of  tolling  bells  in  the  distance  announces 
the  funeral  of  Titurel,  and  the  scene  changes  to  the 
hall  where  the  knights  are  carrying  the  litter  upon 
which  Amfortas  lies,  awaiting  the  funeral  procession 
approaching  to  the  strains  of  a  solemn  march.  The 
knights  demand  he  shall  again  uncover  the  Grail, 
but  he  refuses,  and  calls  upon  them  to  destroy  him 


348  THE    STANDARD    OPERAS. 

and  then  the  Grail  will  shine  brightly  for  them  again. 
Unobserved  by  them,  Parsifal  steps  forward,  touches 
the  king's  wound  with  the  spear,  and  it  is  immedi- 
ately healed.  Then  he  proclaims  himself  King  of 
the  Grail,  and  orders  it  to  be  uncovered.  As 
Amfortas  and  Gurnemanz  kneel  to  do  him  homage, 
Kundry  dies  at  his  feet  in  the  joy  of  repentance. 
Titurel  rises  from  his  coffin  and  bestows  a  benedic- 
tion. Parsifal  ascends  to  the  altar  and  raises  the 
Grail  in  all  its  resplendent  beauty.  A  white  dove 
flies  down  from  the  dome  of  the  hall  and  hovers 
over  his  head,  while  the  knights  chant  their  praise 
to  God,  re-echoed  by  the  singers  in  the  dome,  whose 
strains  sound  like  celestial  voices  :  — • 

"  Miracle  of  supreme  blessing, 
Redemption  to  the  Redeemer." 


WALLACE. 

ILLIAM  VINCENT  WALLACE  was  born 
at  Waterford,  Ireland,  in  1815.  He  first 
studied  music  with  his  father,  a  band- 
leader, who  afterwards  sent  him  to  Dub- 
lin, where  he  speedily  became  an  excellent  performer 
on  the  clarinet,  violin,  and  piano.  At  the  early  age 
of  fifteen  he  was  appointed  organist  at  the  Cathe- 
dral of  Thurles,  and  soon  afterwards  was  engaged 
as  a  theatre  director  and  concert  conductor.  At 
the  age  of  eighteen  he  had  a  fit  of  sickness,  and 
upon  his  recovery  went  to  Australia  for  his  health, 
and  thence  to  Van  Diemen's  Land  and  New  Zealand. 
He  passed  some  time  in  the  latter  country,  and 
then  began  a  long  series  of  wanderings,  in  the 
course  of  which  he  visited  the  East  and  West  Indies, 
Mexico,  —  where  he  conducted  Italian  opera, — 
and  the  United  States.  He  remained  in  New  York 
a  considerable  period,  and  gave  concerts  which 
were  very  remunerative.  In  1846  he  returned  to 
Europe,  and  shortly  afterwards  his  pretty  little 
opera,  "  Maritana,"  appeared,  and  made  quite  a  sen- 


350  THE    STANDARD    OPERAS. 

sation  among  the  admirers  of  English  opera.  In 
1847  "Matilda  of  Hungary"  was  produced,  and 
met  with  success.  Thirteen  years  of  silence  elapsed, 
and  at  last,  in  1860,  he  produced  his  legendary 
opera,  "  Lurline,"  at  Covent  Garden.  It  gave  great 
satisfaction  at  the  time,  but  is  now  rarely  performed. 
Besides  his  operas  he  also  wrote  many  waltzes,  noc- 
turnes, studies,  and  other  light  works  for  the  piano. 
After  the  production  of  "  Lurline  "  he  went  to 
Paris  for  the  purpose  of  bringing  out  some  of  his 
operas,  and  while  in  that  city  also  composed  the 
first  act  of  an  opera  for  London,  but  his  health  was 
too  delicate  to  admit  of  its  completion.  He  died' 
at  Chateau  de  Bayen,  Oct.  12,  1865. 


"Maritana,"  a  romantic  opera  in  three  acts, 
words  by  Fitzball,  founded  upon  the  well-known 
play  of  "  Don  Caesar  de  Bazan,"  was  first  produced 
at  Drury  Lane,  London,  Nov.  15,  1845.  The  text 
closely  follows  that  of  the  drama.  The  first  act 
opens  in  a  public  square  of  Madrid,  where  a  band 
of  gypsies  are  singing  to  the  populace,  among  them 
Maritana,  a  young  girl  of  more  than  ordinary  beauty 
and  vocal  accomplishments.  Among  the  spectators 
is  the  young  King  Charles,  who  after  listening  to 
her  is  smitten  with  her  charms.  Don  Jos£,  his  min- 
ister, to  carry  out  certain  ambitious  plans  of  his 
own,  resolves  to  encourage  the  fascinations  which 


MARITANA. 


351 


have  so  attracted  the  King.  He  extols  her  beauty 
and  arouses  hopes  in  her  breast  of  future  grandeur 
and  prosperity.  At  this  juncture  Don  Caesar  de 
Bazan,  a  reckless,  rollicking  cavalier,  comes  reeling 
out  of  a  tavern  where  he  has  just  parted  with  the 
last  of  his  money  to  gamblers.  In  spite  of  his 
shabby  costume  and  dissipated  appearance  he  bears 
the  marks  of  high  breeding.  In  better  days  he  had 
been  a  friend  of  Don  Jose.  While  he  is  relating 
the  story  of  his  downward  career  to  the  minister, 
Lazarillo,  a  forlorn  young  lad  who  has  just  attempted 
to  destroy  himself,  accosts  Don  Caesar,  and  tells 
him  a  piteous  tale  of  his  wrongs.  Don  Caesar 
befriends  him,  and  in  consequence  becomes  involved 
in  a  duel,  which  leads  to  his  arrest ;  for  it  is  Holy 
Week,  and  duelling  during  that  time  has  been  for- 
bidden on  pain  of  death.  While  Don  Caesar  is  on 
his  way  to  prison,  Don  Jos£  delights  Maritana  by 
promising  her  wealth,  a  splendid  marriage,  and  an 
introduction  to  the  court  on  the  morrow. 

The  second  act  opens  in  the  prison,  and  discovers 
Don  Caesar  asleep,  with  his  faithful  little  friend 
watching  by  him.  It  is  five  o'clock  when  he  wakes, 
and  at  seven  he  must  die.  Only  two  hours  of  life 
remain  for  him,  but  the  prospect  does  not  disturb 
him.  On  the  other  hand  he  is  gayer  than  usual, 
and  rallies  Lazarillo  with  playful  mirth.  In  the 
midst  of  his  gayety  the  crafty  Don  Jos6  enters  and 
professes  strong  friendship  for  him.  When  Don 
Caesar  declares  that  he  has  but  one  last  wish,  and 
that  is  to  die  a  soldier's  death  instead  of  being  igno- 


352  THE    STANDARD    OPERAS. 

miniously  hanged,  Don  Jos£  says  it  shall  be  grati- 
fied upon  condition  that  he  will  marry.  The  pris- 
oner has  but  an  hour  and  three  quarters  to  live,  but 
he  consents.  He  is  provided  with  wedding  apparel, 
and  a  banquet  is  spread  in  honor  of  the  occasion. 
During  the  feast  Lazarillo  brings  in  a  paper  to  Don 
Jose1  containing  the  King's  pardon  for  Don  Csesar, 
but  the  minister  promptly  conceals  it.  Maritana, 
her  features  disguised  by  a  veil,  is  introduced,  and 
as  the  nuptial  rites  are  performed  the  soldiers  pre- 
pare to  execute  the  penalty.  At  the  expiration  of 
the  hour  Don  Csesar  is  led  out  to  meet  his  fate,  but 
Lazarillo  has  managed  to  abstract  the  balls  from  the 
guns.  The  soldiers  perform  their  duty,  and  Don 
Caesar  feigns  death ;  but  as  soon  as  the  opportunity 
occurs,  he  leaves  the  prison  and  hurries  to  a  grand 
ball  given  by  the  Marquis  and  Marchioness  de 
Montefiori  at  their  palace,  while  the  Marquis,  who 
has  had  his  instructions  from  Don  Jos£  to  recognize 
Maritana  as  his  long-lost  niece,  is  introducing  her 
as  such.  Don  Cassar  enters  and  demands  his  bride. 
The  astonished  Don  Jos6,  perceiving  that  his  scheme 
to  introduce  Maritana  at  court  is  liable  to  be  frus- 
trated, offers  the  Marquis  a  rich  appointment  if  he 
will  induce  his  wife  to  play  the  part  he  shall  suggest. 
The  scheme  is  soon  arranged,  and  the  Marchioness, 
closely  veiled,  is  presented  to  Don  Csesar  as  the 
Countess  de  Bazan.  Disgusted  at  "the  precious 
piece  of  antiquity,"  as  he  terms  her,  and  fancying 
that  he  has  been  duped,  he  is  about  to  sign  a  paper 
relinquishing  his  bride,  when  he  suddenly  hears 


MARITANA. 


353 


Maritana's  voice.  He  recognizes  it  as  the  same  he 
had  heard  during  the  marriage  rites.  He  rushes 
forward  to  claim  her,  but  she  is  quickly  carried  away, 
and  he  is  prevented  from  following. 

The  last  act  opens  in  a  palace  belonging  to  the 
King,  where  Maritana  is  surrounded  with  luxury, 
though  she  is  as  yet  unaware  that  she  is  in  the  royal 
apartments.  Don  Jose,  fancying  that  Don  Caesar 
will  not  dare  to  make  his  appearance,  as  he  does 
not  know  of  his  pardon,  carries  out  his  plot  by  in- 
troducing the  King  to  her  as  her  husband.  She 
at  first  rejects  him,  and  as  he  presses  his  suit  Don 
Caesar  breaks  into  the  apartment.  The  King  in  a 
rage  demands  to  know  his  errand.  He  replies  that 
he  is  in  quest  of  the  Countess  de  Bazan,  and  with 
equal  rage  inquires  who  he  (the  King)  is.  The 
King  in  confusion  answers  that  he  is  Don  Cassar, 
whereupon  the  latter  promptly  replies,  "  Then  I  am 
the  King  of  Spain."  Before  further  explanation  can 
be  made,  a  messenger  arrives  from  the  Queen  with 
the  announcement  that  she  awaits  the  King.  After 
his  departure  Don  Caasar  and  Maritana  mutually  rec- 
ognize each  other,  and  upon  her  advice  he  resolves  to 
appeal  to  the  Queen  to  save  her.  He  waits  for  her 
Majesty  in  the  palace  garden,  and  while  concealed, 
overhears  Don  Jose'  informing  her  that  the  King 
will  meet  his  mistress  that  night.  He  springs  out, 
and  denouncing  him  as  a  traitor  to  his  King  slays 
him,  and  then  returning  to  Maritana's  apartment 
finds  the  King  there  again,  and  tells  him  what  has 
occurred.  He  has  saved  the  King's  honor:  will 
23 


354 


THE    STANDARD    OPERAS. 


the  King  destroy  his?  The  monarch,  overcome 
with  Don  Caesar's  gallantry  and  loyalty,  consigns 
Maritana  to  him  and  appoints  him  Governor  of 
Granada.  The  appointment  does  not  suit  Don 
Caesar,  for  Granada  is  too  near  his  creditors.  The 
King,  laughing,  changes  it  to  Valencia,  a  hundred 
leagues  away,  and  thither  Don  Caesar  conducts  his 
happy  bride. 

The  drama  is  one  which  is  well  adapted  to  bright, 
cheerful,  melodious  music,  and  the  opportunity  has 
been  well  improved,  for  "  Maritana  "  is  one  of  the 
sprightliest  and  brightest  of  all  the  English  operas, 
and  contains  several  ballads  which  for  beauty  and 
expressiveness  may  well  challenge  any  that  Balfe 
has  written.  The  principal  numbers  in  the  first 
act  are  Maritana's  opening  song  in  the  public  square 
("  It  was  a  Knight  of  princely  Mien  ")  ;  the  roman- 
za  which  she  subsequently  sings  for  Don  Jos£,  "  I 
hear  it  again,  't  is  the  Harp  in  the  Air,"  which  is 
one  of  the  sweetest  and  most  delicate  songs  in  any 
of  the  lighter  operas ;  the  duet  between  Maritana 
and  Don  Josd,  "  Of  fairy  Wand  had  I  the  Power ; " 
Don  Csesar's  rollicking  drinking-song,  "  All  the 
World  over,  to  love,  to  drink,  to  fight,  I  delight ;  " 
and  the  tripping  chorus,  "  Pretty  Gitana,  tell  us 
what  the  Fates  decree,"  leading  up  to  the  stirring 
ensemble  in  the  finale,  when  Don  Caesar  is  arrested. 
The  first  scene  of  the  second  act  is  the  richest  in 
popular  numbers,  containing  an  aria  for  alto,  Laza- 
rillo's  song  ("  Alas  !  those  Chimes  so  sweetly  peal- 
ing ") ;  a  charming  trio  for  Don  Caesar,  Lazarillo, 


MA  Rl 'TANA.  3S5 

and  Don  Jos£  ("  Turn  on,  old  Time,  thine  Hour- 
glass ")  ;  Don  Caesar's  stirring  martial  song,  "  Yes, 
let  me  like  a  Soldier  fall ;  "  the  serious  ballad,  "  In 
happy  Moments,  Day  by  Day,"  written  by  Alfred 
Bunn,  who  wrote  so  many  of  the  Balfe  ballads  ;  and 
the  quartet  and  chorus  closing  the  scene,  "  Health 
to  the  Lady,  the  lovely  Bride  !  "  The  second  scene 
opens  with  a  pretty  chorus  in  waltz  time  ("  Ah,  what 
Pleasure!  the  soft  Guitar"),  followed  by  an  aria 
sung  by  the  King  ("The  Mariner  in  his  Bark"), 
and  introduced  by  an  attractive  violin  prelude.  The 
finale  is  a  very  dramatic  ensemble,  quintet  and  chorus 
("What  Mystery  must  now  control").  The  last 
act  falls  off  in  musical  interest,  though  it  is  very 
strong  dramatically.  It  contains  a  few  numbers, 
however,  which  are  very  popular ;  among  them  one 
of  the  most  admired  of  all  English  songs  ("  Scenes 
that  are  brightest"),  which  Maritana  sings  in  the 
King's  apartments  at  the  beginning  of  the  act ;  the 
humorous  duet  between  the  King  and  Don  Caesar 
when  they  meet ;  the  love-duet  between  Don  Caesar 
and  Maritana  ("  This  Heart  with  Bliss  o'erflowing  ") ; 
and  Don  Caesar's  song,  "There  is  a  Flower  that 
/"^bloometh,"  which  is  in  the  sentimental  ballad  style. 
EL  The  freshness,  brightness,  and  gracefulness  of  the 
<  music  of  this  little  opera,  combined  with  the  unusual 
interest  and  delicate  humor  of  the  story,  have  always 
commended  it  to  popular  admiration. 


WEBER. 


iRL  MARIA  VON  WEBER  was  born 
Dec.  1 8,  1786,  at  Eutin,  and  may  almost 
be  said  to  have  been  born  on  the  stage, 
as  his  father  was  at  the  head  of  a  theat- 
rical company,  and  the  young  Carl  was  carried  in 
the  train  of  the  wandering  troupe  all  over  Germany. 
His  first  lessons  were  given  to  him  by  Henschkel, 
conductor  of  the  orchestra  of  Duke  Friedrich  of 
Meiningen.  At  the  age  of  fourteen  he  wrote  his 
first  opera,  "  Das  Waldmadchen,"  which  was  per- 
formed several  times  during  the  year  1800.  In 
1 80 1  appeared  his  two-act  comic  opera,  "  Peter 
Schmoll  and  his  Neighbors,"  and  during  these  two 
years  he  also  frequently  played  in  concerts  with 
great  success.  He  then  studied  with  the  Abbe" 
Vogler,  and  in  his  eighteenth  year  was  engaged  for 
the  conductorship  of  the  Breslau  opera.  About 
this  time  appeared  his  first  important  opera,  "  Ru- 
bezahl."  At  the  conclusion  of  his  studies  with 
Vogler  he  was  made  director  of  the  Opera  at 


WEBER. 


357 


Prague.  In  1814  he  wrote  a  cantata,  "The  Lyre 
and  Sword,"  for  a  festive  occasion,  am]  it  was 
greeted  with  the  wildest  enthusiasm.  In  1816  he 
went  to  Berlin,  where  he  was  received  with  the 
highest  marks  of  popular  esteem,  and  thence  to 
Dresden  as  Hofcapellmeister.  This  was  the  most 
brilliant  period  in  his  career.  It  was  during  this 
time  that  he  married  Caroline  Brandt,  the  actress 
and  singer,  who  had  had  a  marked  influence  upon 
his  musical  progress,  and  to  whom  he  dedicated 
his  exquisite  "  Invitation  to  the  Dance."  The  first 
great  work  of  his  life,  "  Der  Freischiitz,"  was  writ- 
ten at  this  period.  Three  other  important  operas 
followed,  —  "  Preciosa,"  "  Euryanthe,"  the  first 
performance  of  which  took  place  in  Vienna  in 
1823,  and  "  Oberon,"  which  he  finished  in  London 
and  brought  out  there.  Weber's  last  days  were 
spent  in  the  latter  city ;  and  it  was  while  making 
preparations  to  return  to  Germany,  which  he  longed 
to  see  again,  that  he  was  stricken  down  with  his 
final  illness.  On  the  4th  of  June,  1826,  he  was 
visited  by  Sir  George  Smart,  Moscheles,  and  other 
musicians  who  were  eager  to  show  him  attention. 
He  declined  to  have  any  one  watch  by  his  bedside, 
thanked  them  for  their  kindness,  bade  them  good- 
by,  and  then  turned  to  his  friend  Furstenau  and 
said,  "  Now  let  me  sleep."  These  were  his  last 
words.  The  next  morning  he  was  found  dead  in 
his  bed.  He  has  left  a  rich  legacy  of  works  besides 
his  operas, — a  large  collection  of  songs,  many 


358      THE  STANDARD  OPERAS. 

cantatas  (of  which  "The  Jubilee,"  with  its  brilliant 
overture,  is  the  finest),  some  masses,  of  which  that 
in  E  flat  is  the  most  beautiful,  and  several  con- 
certos, besides  many  brilliant  rondos,  polaccas,  and 
marches  for  the  piano. 


per 


"  Der  Freischiitz,"  a  romantic  opera  in  three 
acts,  words  by  Friedrich  Kind,  was  first  produced 
at  Berlin,  June  1  8,  1821.  It  is  one  of  the  most 
popular  operas  in  the  modern  repertory.  It  was 
first  performed  in  Paris,  Dec.  7,  1824,  as  "Robin 
des  Bois,"  with  a  new  libretto  by  Castile  Blaze  and 
Sauvage,  and  many  changes  in  the  score,  such  as 
divertisements  made  up  of  the  dance-music  in 
"Preciosa"  and  "Oberon,"  and  of  "The  Invita- 
tion to  the  Dance,"  scored  by  Berlioz.  In  1841  it 
was  again  given  in  Paris,  with  an  accurate  transla- 
tion of  the  text  by  Pacini,  and  recitatives  added  by 
Berlioz,  as  "  Le  Franc  Archer."  Its  first  English 
performance  in  London  was  given  July  22,  1824, 
as  "  Der  Freischiitz,  or  the  Seventh  Bullet,"  with 
several  ballads  inserted;  and  its  first  Italian  at 
Covent  Garden,  March  16,  1850,  with  recitatives 
by  Costa,  as  "  II  Franco  Arciero."  So  popular 
was  it  in  England  in  1824  that  no  less  than  nine 
theatres  were  presenting  various  versions  of  it  at  the 
game  time.  The  original  cast  was  as  follows  :  — 


DER   FREISCHUTZ. 


359 


AGATHA Frau  CAROLINE  SEIDLER. 

ANNCHEN Frl.  JOHANNA  EUNIKE. 

MAX Herr  CARL  STUMER. 

CASPAR Herr  HEINRICH  BLUME. 

OTTAKAR Herr  RUBINSTEIN. 

KUNO Herr  WANER. 

HERMIT Herr  GERN. 

KILIAN Herr  WIEDEMANN. 

The  text  of  the  opera  is  taken  from  a  story  in 
"  Popular  Tales  of  the  Northern  Nations,"  and  is 
founded  upon  a  traditionary  belief  that  a  demon 
of  the  forest  furnishes  a  marksman  with  unerring 
bullets  cast  under  magical  influences.  Kuno,  the 
head  ranger  to  the  Prince  of  Bohemia,  too  old  to 
longer  continue  in  his  position,  recommends  Max, 
a  skilful  marksman,  who  is  betrothed  to  his  daugh- 
ter Agatha,  as  his  successor.  The  Prince  agrees  to 
accept  him  if  he  proves  himself  victor  at  the  forth- 
coming hunting-match.  Caspar,  the  master-villain 
of  the  play,  who  has  sold  himself  to  the  demon 
Zamiel,  and  who  also  is  in  love  with  Agatha,  forms 
a  plot  to  ruin  Max  and  deliver  him  over  to  Zamiel 
as  a  substitute  for  himself,  for  the  limit  of  his  con- 
tract with  the  Evil  One  is  close  at  hand.  With 
Zamiel's  aid  he  causes  Max  to  miss  the  mark  sev- 
eral times  during  the  rehearsals  for  the  match. 
The  lover  is  thrown  into  deep  dejection  by  his  ill 
luck,  and  while  in  this  melancholy  condition  is 
cunningly  approached  by  Caspar,  who  says  to  him 
that  if  he  will  but  repeat  the  formula,  "  In  the  name 
of  Zamiel,"  he  will  be  successful.  He  does  so,  and 
brings  down  an  eagle  soaring  high  above  him. 


360  THE    STANDARD    OPERAS. 

Elated  with  his  success,  Caspar  easily  persuades 
him  that  he  can  win  the  match  if  he  will  meet  him 
at  midnight  in  the  Wolfs  Glen,  where  with  ZamieF  s 
aid  he  can  obtain  plenty  of  magic  bullets. 

The  second  act  opens  in  Kuno's  house,  and 
shows  us  Agatha  melancholy  with  forebodings  ot 
coming  evil.  A  hermit  whom  she  has  met  in  the 
woods  has  warned  her  of  danger,  and  given  her  a 
wreath  of  magic  roses  to  ward  it  off.  An  ancestral 
portrait  falling  from  the  walls  also  disturbs  her ; 
and  at  last  the  appearance  of  the  melancholy  Max 
confirms  her  belief  that  trouble  is  in  store  for  her. 
Max  himself  is  no  less  concerned.  All  sorts  of 
strange  sounds  have  troubled  him,  and  his  slumbers 
have  been  invaded  with  apparitions.  Nevertheless, 
he  goes  to  the  Wolfs  Glen ;  and  though  spectres, 
skeletons,  and  various  grotesque  animals  terrify 
him,  and  his  mother's  spirit  appears  and  warns  him 
away,  he  overcomes  his  fright  and  appears  with 
Caspar  at  the  place  of  incantation.  Zamiel  is  sum- 
moned, and  seven  bullets  are  cast,  six  of  which  are 
to  be  directed  by  Max  himself  in  the  forthcoming 
match,  while  the  seventh  will  be  at  the  disposal  of 
the  demon.  Little  dreaming  the  fate  which  hangs 
upon  the  seventh,  Caspar  offers  no  objections. 

The  third  act  opens,  like  the  last,  in  Kuno's 
house,  and  discovers  Agatha  preparing  for  her  nup- 
tials, and  telling  Annchen  a  singular  dream  she  has 
had.  She  had  fancied  herself  a  dove,  and  that 
Max  fired  at  her.  As  the  bird  fell  she  came  to 
herself  and  saw  that  the  dove  had  changed  to  a 


DER  FREISCHUTZ.  361 

fierce  bird  of  ill  omen  which  lay  dying  at  her  feet. 
The  melancholy  produced  by  the  dream  is  still  fur- 
ther heightened  when  it  is  found  that  a  funeral  in- 
stead of  a  bridal  wreath  has  been  made  for  her ;  but 
her  heart  lightens  up  again  as  she  remembers  the 
magic  rose-wreath  which  the  hermit  had  enjoined 
her  to  wear  on  her  wedding  day.  At  last  the 
eventful  day  of  trial  comes,  and  the  Prince  and  all 
his  courtiers  assemble  to  witness  the  match.  Max 
makes  six  shots  in  succession  which  go  home  to 
the  mark.  At  the  Prince's  command  he  fires  the 
seventh,  Zamiel's  bullet,  at  a  dove  flying  past.  As 
he  fires,  Agatha  appears  to  him  as  the  dove,  and  he 
fancies  he  has  slain  her.  The  wreath  protects  her, 
however,  and  Zamiel  directs  the  bullet  to  Caspar's 
heart.  The  demon  claims  his  victim,  and  Max  his 
bride,  amid  general  rejoicing. 

The  overture,  which  is  one  of  the  most  favorite 
numbers  of  its  class  in  the  concert-room  as  well  as 
in  the  opera-house,  is  a  masterpiece  of  brilliant  and 
descriptive  instrumentation,  and  furnishes  us  with  a 
key  to  the  whole  story  in  its  announcement  of  the 
leading  themes.  It  opens  with  an  adagio  horn 
passage  of  great  beauty,  giving  us  the  groundwork 
of  the  entire  action ;  and  then  follow  motives  from 
Max's  grand  scena  in  the  first  act,  the  Incantation 
music,  Agatha's  moonlight  scene,  and  other  epi- 
sodes connected  with  the  action  of  Max  and  Caspar. 
Indeed,  the  frequent  and  expressive  use  of  the  Lcit 
motif 'all  through  the  work  seem  to  entitle  Weber  to 
the  credit  of  its  invention. 


362      THE  STANDARD  OPERAS. 

The  first  act  opens  with  a  spirited  chorus  of  vil- 
lagers, followed  by  a  lively  march  and  a  comic  song 
by  Kilian,  in  which  he  rallies  Max  upon  his  bad 
luck.  The  next  number  is  a  trio  and  chorus,  with 
solos  for  the  principals,  Max,  Kuno,  and  Caspar 
("  O  diese  Sonne,  furchtbar  steigt  sie  mir  empor  "). 
Max  laments  his  fate,  but  Kuno  encourages  him, 
while  Caspar  insinuates  his  evil  plot.  The  trio  is 
of  a  sombre  cast  at  the  beginning,  but  by  a  sudden 
change  the  horns  and  an  expressive  combination 
of  the  chorus  give  it  a  cheerful  character.  It  is 
once  more  disturbed,  however,  by  Caspar's  ominous 
phrases,  but  at  last  Kuno  and.  his  men  cheer  up 
the  despondent  lover  with  a  brisk  hunting-chorus, 
and  the  villagers  dance  off  to  a  lively  waltz  tempo. 
Max  is  left  alone,  and  the  next  number  is  a  grand 
tenor  scene.  It  opens  with  a  gloomy  recitative, 
which  lights  up  as  he  thinks  of  Agatha,  and  then 
passes  into  one  of  the  most  tender  and  delicious  of 
melodies  ("  Durch  die  Wa'lder,  durch  die  Auen  "), 
set  to  a  beautiful  accompaniment.  Suddenly  the 
harmony  is  clouded  by  the  apparition  of  Zamiel, 
but  as  he  disappears,  Max  begins  another  charm- 
ing melody  ("  Jetzt  ist  wohl  ihr  Fenster  offen  "), 
which  is  even  more  beautiful  than  the  first.  As 
Zamiel  reappears  the  harmony  is  again  darkened ; 
but  when  despairing  Max  utters  the  cry,  "  Lives 
there  no  God  ! "  the  wood-demon  disappears,  and 
the  great  song  comes  to  an  end.  In  this  mood 
Caspar  meets  him,  and  seeks  to  cheer  him  with  an 
hilarious  drinking-song  ("  Hier  im  ird'schen  Jam- 


DER  FREISCHUTZ.  363 

merthal"),  furious  in  its  energy,  and  intended  to 
express  unhallowed  mirth.  The  act  closes  with 
Caspar's  bass  aria  of  infernal  triumph  ("  Triumph  ! 
die  Rache,  die  Rache  gelingt"),  accompanied  by 
music  which  is  wonderfully  weird  and  shadowy  in 
its  suggestions. 

The  second  act  opens  with  a  duet  ("  Schelm  ! 
halt  fest ")  in  which  Agatha's  fear  and  anxiety 
are  charmingly  contrasted  with  the  lightsome  and 
cheer}'  nature  of  Annchen,  her  attendant,  and  this 
in  turn  is  followed  by  a  naive  and  coquettish  arietta 
("  Kommt  ein  schlanker  Bursch  gegangen  ")  sung 
by  the  latter.  Annchen  departs,  and  Agatha,  open- 
ing her  window  and  letting  the  moonlight  flood  the 
room,  sings  the  famous  scena  and  prayer,  "  Leise, 
leise,  fromme  Weise,"  beginning,  after  a  few  bars 
of  recitative,  with  a  melody  full  of  prayer  and  hope 
and  tender  longings,  shaded  with  vague  presenti- 
ment. It  is  an  adagio  of  exquisite  beauty,  closing 
with  an  ecstatic  outburst  of  rapture  ("Alle  meine 
Pulse  schlagcn")  as  she  beholds  her  lover  coming. 
The  melody  has  already  been  heard  in  the  overture, 
but  its  full  joy  and  splendid  sweep  are  attained  only 
in  this  scene.  In  the  next  scene  we  have  a  trio 
("Wie?  was?  Entsetzen?")  between  Max,  Ann- 
chen, and  Agatha,  in  which  the  musical  discrimina- 
tion of  character  is  carried  to  a  fine  point ;  and  the 
act  concludes  with  the  incantation  music  in  the 
Wolfs  Glen,  which  has  never  been  surpassed  in 
weirdness,  mystery,  and  diablerie,  and  at  times  in 
actual  sublimity.  Its  real  power  lies  in  the  instru- 


364      THE  STANDARD  OPERAS. 

mentation ;  not  alone  in  its  vivid  and  picturesque 
presentation  of  the  melodramatic  scene  with  its 
hideous  surroundings,  but  in  its  expressiveness  and 
appositeness  to  the  action  and  sentiment  by  the 
skilful  use  of  motives. 

The  last  act  has  an  instrumental  prelude  fore- 
shadowing the  Hunters'  Chorus.  It  opens  with  a 
graceful  but  somewhat  melancholy  aria  of  a  religious 
character  ("  Und  ob  die  Wolke  sie  verhiille  "),  sung 
by  Agatha,  in  which  she  is  still  wavering  between 
doubt  and  hope,  and  succeeded  by  another  of 
Annchen's  arias,  beginning  with  the  gloomy  ro- 
mance, "  Einst  traumte  meiner  sel'gen  Base,"  and 
closing  with  a  lively  allegro  ("  Triibe  Augen,  Lieb- 
chen  "),  which  is  intended  to  encourage  her  sad 
mistress.  Then  the  bridesmaids  sing  their  lively 
chorus,  "Wir  winden  dir  den  Jungfern-Kranz,"  so 
well  known  by  its  English  title,  "  A  rosy  Crown  we 
twine  for  Thee."  The  pretty  little  number  is  fol- 
lowed by  the  Hunters'  Chorus,  "  Was  gleicht  wohl 
auf  Erden  dem  Jagervergniigen,"  which  is  a  uni- 
versal favorite.  It  leads  up  to  a  strong  dramatic 
finale,  crowded  with  striking  musical  ideas,  and 
containing  Agatha's  beautiful  melody  in  the  closing 
chorus. 

Few  operas  have  had  such  world-wide  popularity 
as  "Der  Freischiitz,"  and  yet  it  is  an  essentially 
German  product.  The  composer's  son  has  aptly 
characterized  it,  in  his  Biography  of  his  father: 
"  Weber  did  not  compose  *  Der  Freischiitz ; '  he 
allowed  it  to  grow  out  of  the  rich  soil  of  his  brave 


OBERON.  365 

German  heart,  and  to  expand  leaf  by  leaf,  blossom 
by  blossom,  fostered  by  the  hand  of  his  talent ;  and 
thus  no  German  looks  upon  the  opera  as  a  work  of 
art  which  appeals  to  him  from  without.  He  feels 
as  if  every  line  of  the  work  came  from  his  own 
heart,  as  if  he  himself  had  dreamed  it  so,  and  it 
could  no  more  sound  otherwise  than  the  rustling  of 
an  honest  German  beech-wood." 


©beron. 

"Oberon,  or  the  Elf  King's  Oath,"  a  romantic 
and  fairy  opera  in  three  acts,  words  by  J.  R. 
Planche",  was  first  produced  at  Covent  Garden, 
London,  April  12,  1826,  in  English.  Its  first  Ital- 
ian performance  was  given  in  the  same  city,  July  3, 
1860,  the  recitatives  being  supplied  by  Benedict, 
who  also  added  several  numbers  from  "  Euryanthe." 
The  original  cast  was  as  follows  :  — 

REIZA Miss  PATON. 

FATIMA Mine.  VESTRIS. 

PUCK Miss  CAWSE. 

HUON Mr.  BRAHAM. 

OBERON Mr.  BLAND. 

SHERASMIN Mr.  FAWCETT. 

MERMAID Miss  GOWNELL. 

The  librettist,  Planche",  in  a  tribute  to  Weber, 
gives  the  origin  of  the  story  of  "  Oberon."  It  ap- 
peared originally  in  a  famous  collection  of  French 


366  THE    STANDARD    OPERAS. 

romances,  "  La  Bibliotheque  Bleue,"  under  the  title 
of  "  Huon  of  Bordeaux."  The  German  poet  Wie- 
land  adopted  the  principal  incidents  of  the  story  as 
the  basis  of  his  poem,  "Oberon,"  and  Sotheby's 
translation  of  it  was  used  in  the  preparation  of  the 
text.  The  original  sketch  of  the  action,  as  furnished 
by  Planch^,  is  as  follows  :  — 

"  Oberon,  the  Elfin  King,  having  quarrelled  with 
his  fairy  partner,  vows  never  to  be  reconciled  to  her 
till  he  shall  find  two  lovers  constant  through  peril 
and  temptation.  To  seek  such  a  pair  his  '  tricksy 
spirit,'  Puck,  has  ranged  in  vain  through  the  world. 
Puck,  however,  hears  the  sentence  passed  on  Sir 
Huon  of  Bordeaux,  a  young  knight,  who,  having 
been  insulted  by  the  son  of  Charlemagne,  kills  him 
in  single  combat,  and  is  for  this  condemned  by  the 
monarch  to  travel  to  Bagdad  to  slay  him  who  sits 
on  the  Caliph's  left  hand,  and  to  claim  his  daughter 
as  his  bride.  Oberon  instantly  resolves  to  make  this 
pair  the  instruments  of  his  reunion  with  his  queen, 
and  for  this  purpose  he  brings  up  Huon  and  She- 
rasmin  asleep  before  him,  enamours  the  knight  by 
showing  him  Reiza,  daughter  of  the  Caliph,  in  a 
vision,  transports  him  at  his  waking  to  Bagdad,  and 
having  given  him  a  magic  horn,  by  the  blasts  of 
which  he  is  always  to  summon  the  assistance  of 
Oberon,  and  a  cup  that  fills  at  pleasure,  disappears. 
Here  Sir  Huon  rescues  a  man  from  a  lion,  who 
proves  afterwards  to  be  Prince  Babekan,  who  is 
betrothed  to  Reiza.  One  of  the  properties  of  the 
cup  is  to  detect  misconduct.  He  offers  it  to  Babe- 


OBERON.  367 

kan.  On  raising  it  to  his  lips  the  wine  turns  to 
flame,  and  thus  proves  him  a  villain.  He  attempts 
to  assassinate  Huon,  but  is  put  to  flight.  The 
knight  then  learns  from  an  old  woman  that  the 
princess  is  to  be  married  next  day,  but  that  Reiza 
has  been  influenced,  like  her  lover,  by  a  vision,  and 
is  resolved  to  be  his  alone.  She  believes  that  fate 
will  protect  her  from  her  nuptials  with  Babekan, 
which  are  to  be  solemnized  on  the  next  day.  Huon 
enters,  fights  with  and  vanquishes  Babekan,  and 
having  spell-bound  the  rest  by  a  blast  of  the  magic 
horn,  he  and  Sherasmin  carry  off  Reiza  and  Fatima. 
They  are  soon  shipwrecked.  Reiza  is  captured  by 
pirates  on  a  desert  island  and  brought  to  Tunis, 
where  she  is  sold  to  the  Emir  and  exposed  to  every 
temptation,  but  she  remains  constant.  Sir  Huon, 
by  the  order  of  Oberon,  is  also  conveyed  thither. 
He  undergoes  similar  trials  from  Roshana,  the  jeal- 
ous wife  of  the  Emir,  but  proving  invulnerable  she 
accuses  him  to  her  husband,  and  he  is  condemned 
to  be  burned  on  the  same  pile  with  Reiza.  They 
are  rescued  by  Sherasmin,  who  has  the  magic  horn. 
Oberon  appears  with  his  queen,  whom  he  has  re- 
gained by  their  constancy,  and  the  opera  concludes 
with  Charlemagne's  pardon  of  Huon. 

The  overture,  like  that  of  "  Der  Freischiitz,"  re- 
flects the  story,  and  is  universally  popular.  Its 
leading  themes  are  the  horn  solo,  which  forms  the 
symphony  of  Sir  Huon's  vision,  a  short  movement 
from  the  fairies'  chorus,  a  martial  strain  from  the 
\  last  scene  in  the  court  of  Charlemagne,  a  passage 


368  THE    STANDARD     OPERAS. 

from  Reiza's  scene  in  the  second  act,  and  Puck's 
invocation  of  the  spirits. 

The  first  act  opens  in  Oberon's  bower  with  a 
melodious  chorus  of  fairies  and  genii  ("  Light  as 
fairy  Feet  can  fall  "),  followed  by  a  solo  for  Oberon 
("  Fatal  Oath  "),  portraying  his  melancholy  mood, 
and  "  The  Vision,"  a  quaint,  simple  melody  by  Reiza 
("Oh!  why  art  thou  sleeping?"),  which  leads  up 
to  a  splendid  ensemble  ("  Honor  and  Joy  to  the 
True  and  the  Brave  "),  containing  a  solo  for  Oberon, 
during  which  the  scene  suddenly  changes  from  the 
fairy  bower  to  the  city  of  Bagdad.  Huon  has  a 
grand  scena  ("  Oh  !  't  is  a  Glorious  Sight  "),  a  com- 
position in  several  movements  beginning  with  a 
dramatic  bravura  illustrative  of  the  scenes  of  the 
battlefield,  and  closing  with  a  joyous,  brisk  alle- 
gretto ("  Joy  to  the  high-born  Dames  of  France  "). 
The  finale  begins  with  an  aria  by  Reiza  ("  Yes,  my 
Lord  "),  in  the  Italian  style,  passing  into  a  duet  for 
Reiza  and  Fatima,  and  closing  with  the  chorus 
("  Now  the  Evening  Watch  is  set.") 

The  second  act  opens  with  a  characteristic  chorus 
("  Glory  to  the  Caliph  "),  the  music  of  which  has 
been  claimed  by  some  critics  as  genuinely  Moorish, 
though  it  is  probable  that  Weber  only  imitated  that 
style  in  conformity  to  the  demands  of  the  situation. 
A  little  march  and  three  melodramatic  passages  lead 
up  to  an  arietta  for  Fatima  ("  A  lovely  Arab  Maid  "), 
beginning  with  a  very  pleasing  minor  and  closing 
in  a  lively  major.  This  leads  directly  to  the  lovely 
quartet,  "  Over  the  Dark  Blue  Waters,"  —  one  of 


OBERON.  369 

the  most  attractive  numbers  in  the  opera.  It  is  a 
concerted  piece  for  two  sopranos,  tenor,  and  bass, 
opening  with  two  responsive  solos  in  duet,  first  for 
the  bass  and  tenor,  and  then  for  the  two  sopranos, 
the  voices  finally  uniting  in  a  joyous  and  animated 
movement  of  great  power.  The  music  now  passes 
to  the  supernatural,  and  we  have  Puck's  invocation 
to  the  spirits,  whom  he  summons  to  raise  a  storm 
and  sink  the  vessel  in  which  the  lovers  have  em- 
barked. Puck's  recitative  is  very  powerful,  and  the 
chorus  of  the  spirits  in  response,  a  very  rapid  presto 
movement,  is  in  its  way  as  effective  as  the  incanta- 
tion music  in  "  Der  Freischiitz."  The  storm  rises, 
the  orchestra  being  the  medium  of  the  description, 
which  is  very  graphic  and  effective.  Huon  has  a 
short  prayer  ("  Ruler  of  this  Awful  Hour  "),  which 
is  impressively  solemn,  and  then  follows  Reiza's 
magnificent  apostrophe  to  the  sea  ("  Ocean,  thou 
mighty  Monster  that  liest  curled  like  a  green  Ser- 
pent round  about  the  World ").  The  scene  is 
heroic  in  its  construction,  and  its  effective  perform- 
ance calls  for  the  highest  artistic  power.  It  repre- 
sents the  gradual  calm  of  the  angry  waters,  the 
breaking  of  the  sun  through  the  gloom,  and  the 
arrival  of  a  boat  to  the  succor  of  the  distressed 
Reiza.  The  immense  effect  of  the  scene  is  greatly 
enhanced  by  the  descriptive  instrumentation,  es- 
pecially in  the  allegro  describing  the  rolling  of  the 
billows  and  the  recitative  and  succeeding  andante 
picturing  the  outburst  of  the  sun.  The  mermaid's 

song  ("  Oh  !  't  is  pleasant  "),  with  its  wavy,  flowing 
24 


370  THE    STANDARD    OPERAS. 

melody,  forms  a  fitting  pendant  to  this  great  picture 
of  elementary  strife ;  and  a  delicate  and  graceful 
chorus  closes  the  act. 

The  third  act  opens  with  a  lovely  song  for 
Fatima  ("  Oh  !  Araby,  dear  Araby  "),  consisting  of 
two  movements,  —  an  andante  plaintively  recalling 
past  memories,  and  an  allegro  of  exquisite  taste. 
The  song,  even  detached  from  the  opera,  has  always 
been  greatly  admired  in  concert-rooms,  and,  it  is 
said,  was  a  special  favorite  also  with  the  composer. 
It  is  followed  by  a  duet  for  Sherasmin  and  Fatima 
("  On  the  Banks  of  sweet  Garonne  "),  which  is  of 
a  vivacious  and  comic  nature  in  Sherasmin's  part, 
and  then  passes  into  a  tender  minor  as  Fatima 
sings.  The  next  number  is  a  trio  for  soprano,  alto, 
and  tenor  ("And  must  I  then  dissemble?"),  written 
very  much  in  the  style  of  the  trio  in  "Der  Frei- 
schiitz,"  and  yet  purely  original  in  its  effect.  Reiza 
follows  with  a  smooth,  flowing,  and  pathetic  cava- 
tina  ("  Mourn  thou,  poor  Heart "),  which  is  suc- 
ceeded in  marked  contrast  by  a  joyous  rondo 
("  I  revel  in  Hope  ")  sung  by  Sir  Huon.  The 
next  scene  is  that  of  Sir  Huon's  temptation,  a  volup- 
tuous passage  for  ballet  and  chorus,  interrupted  at 
intervals  by  the  energetic  exclamations  of  the  pala- 
din as  he  successfully  resists  the  sirens.  The  gay 
scene  leads  up  to  the  finale.  Sir  Huon  and  Reiza 
are  bound  to  the  stake,  surrounded  by  slaves  sing- 
ing a  weird  chorus.  A  blast  from  the  magic  horn 
sets  them  dancing,  and  a  quartet  for  the  four  prin- 
cipal characters  based  upon  the  subject  of  the  slaves' 


EURYANTHE.  371 

chorus  ensues.  Oberon  appears  and  takes  his  leave 
after  transporting  the  whole  company  to  the  royal 
halls  of  Charlemagne.  A  stirring  march  opens  the 
scene,  a  beautiful  aria  by  Htion  follows  ("  Yes  ! 
even  Love  to  Fame  must  yield  "),  and  a  chorus  by 
the  whole  court  closes  the  opera. 


dtergantlje. 

The  opera  of  "  Euryanthe  "  was  written  for  the 
Karnthnerthor  Theatre,  Vienna,  where  it  was  first 
produced  Oct.  25,  1823,  though  not  with  the  suc- 
cess which  afterwards  greeted  it  in  Berlin,  owing  to 
the  Rossini  craze  with  which  the  Austrian  capital  was 
afflicted  at  that  time.  The  libretto  is  by  Helmine 
von  Chezy,  an  eccentric  old  woman  who  proved  a 
sad  torment  to  the  composer.  The  plot,  which  is  a 
curious  mixture  of  "  Cymbeline  "  and  "  Lohengrin," 
was  adapted  from  an  old  French  romance,  entitled 
"  L'Histoire  de  Gerard  de  Nevers  et  de  la  belle  et 
vertueuse  Euryanthe,  sa  mie,"  and  is  substantially 
as  follows  :  — 

In  the  palace  of  King  Louis  of  France,  where  a 
brilliant  assemblage  is  gathered,  Count  Adolar  sings 
a  tribute  to  the  beauty  and  virtue  of  Euryanthe, 
his  betrothed.  Count  Lysiart  replies  with  a  sneer, 
and  boasts  that  he  can  gain  her  favor ;  but  Adolar 
challenges  him  to  bring  a  proof.  The  scene  then 
changes  to  the  castle  of  Nevers,  and  discloses 
Euryanthe  longing  for  Adolar.  Eglantine,  who  is 


372  THE  STANDARD   OPERAS. 

also  in  love  with  Adolar,  and  who  is  conspiring 
against  Euryanthe,  soon  joins  her,  and  in  their  inter- 
view the  latter  rashly  discloses  the  secret  of  a  neigh- 
boring tomb  known  only  to  herself  and  Adolar.  In 
this  tomb  rests  the  body  of  Emma,  Adolar's  sister, 
who  had  killed  herself,  and  whose  ghost  had  ap- 
peared to  Euryanthe  and  her  lover  with  the  declara- 
tion that  she  can  never  be  at  peace  until  tears  of 
innocence  have  been  shed  upon  the  ring  which  was 
the  agency  employed  in  her  death.  Lysiart  arrives 
from  court  with  a  commission  to  take  Euryanthe  to 
the  King,  while  Eglantine  is  left  behind  in  posses- 
sion of  the  secret. 

In  the  second  act  Lysiart  deplores  his  failure  to 
obtain  the  favor  of  Euryanthe ;  but  his  hopes  are 
renewed  when  he  meets  Eglantine  emerging  from 
the  tomb  with  the  ring,  and  learns  from  her  that  it 
can  be  made  to  convict  Euryanthe  of  indiscretion, 
or  at  least  of  breaking  her  promise  not  to  reveal  the 
tomb  secret.  He  obtains  the  ring,  confronts  Eury- 
anthe with  it  at  the  palace,  and  forces  her  to 
admit  the  broken  promise.  Adolar,  believing  that 
she  is  guilty,  drags  her  away  to  a  wilderness  where 
it  is  his  intention  to  kill  her ;  but  on  the  way  they 
are  attacked  by  a  serpent.  Adolar  slays  the  mon- 
ster, and  then,  seized  with  sudden  pity,  he  abandons 
his  intention  of  killing  her,  but  leaves  her  to  her  fate. 
She  is  subsequently  found  by  the  King  while  on  a 
hunting  expedition,  and  to  him  she  relates  the  story 
of  Eglantine's  treachery.  The  King  takes  her  with 
him  to  the  palace.  Meanwhile  Adolar  has  begun 


EURYANTHE.  373 

to  suspect  that  Euryanthe  has  been  the  victim  of 
her  base  wiles,  and  on  his  way  to  Nevers  to  punish 
Lysiart  he  encounters  the  wedding-procession  of  the 
guilty  pair,  and  challenges  him.  The  King  sud- 
denly arrives  upon  the  scene  and  announces  Eury- 
anthe's  death,  whereupon  Eglantine  declares  her 
love  for  Adolar.  The  furious  Lysiart  turns  upon 
her  and  stabs  her.  Euryanthe  is  not  dead.  She 
has  only  fainted,  and  is  soon  restored  to  her  lover, 
while  Lysiart  is  led  off  to  the  scaffold. 

The  overture,  which  is  familiar  in  our  concert- 
rooms,  gives  a  sketch  of  the  principal  situations  in 
the  opera.  The  first  act  opens  in  the  great  banquet- 
hall  of  the  King  with  a  flowing  and  stately  chorus 
("  Dem  Frieden  Heil  ")  alternating  between  female 
and  male  voices  and  finally  taken  by  the  full  chorus. 
Then  follows  Adolar's  lovely  and  tender  romanza 
("Unter  bliihenden  Mandelbaumen").  The  next 
number,  a  chorus  ("Heil!  Euryanthe  "),  with  re- 
citatives for  Adolar,  Lysiart,  and  the  King,  leads  up 
to  a  vigorous  trio  ("  Wohlan  !  Du  kennst ").  Eury- 
anthe's  idyllic  and  touching  cavatina  ("Glocklein 
im  Thale  ")  is  a  match  in  beauty  and  tenderness  for 
Adolar's  romanza.  The  recitative  which  follows 
introduces  a  sentimental  aria  for  Eglantine  ("O 
mein  Leid  ist  unermessen"),  leading  to  a  duet  with 
Euryanthe  ("  Unter  ist  mein  Stern  gegangen  ").  A 
scena  for  Eglantine,  characterized  by  all  the  hatred 
and  fury  of  jealousy,  introduces  the  finale,  which 
consists  of  a  vigorous  chorus  ("  Jubeltone  ")  accom- 
panying Euryanthe's  solo  ("  Frohliche  Klange  "). 


374  TIIE  STANDARD   OPERAS. 

The  second  act  opens  with  a  powerful  recitative 
and  aria  for  Lysiart  ("  Wo  berg  ich  mich"),  which  is 
full  of  passion.  A  duet  of  a  menacing  and  sombre 
character  between  Lysiart  and  Eglantine  ("  Komm 
denn  unser  Leid  zu  rachen  ")  stands  out  in  gloomy 
contrast  with  Adolar's  aria  ("  Wehen  mir  Liifte 
Ruh'  ")  and  the  duet  with  Euryanthe  ("  Hin  nimm 
die  Seele  mein  "),  so  full  of  grace  and  tenderness. 
They  lead  up  to  the  finale,  a  grand  quartet  ("  Lass 
mich  empor  zum  Lichte"),  with  powerful  chorus 
accompaniment. 

The  last  act  opens  with  the  serpent  episode,  with 
characteristic  music,  and  a  recitative  scene  between 
Euryanthe  and  Adolar  leads  up  to  a  pathetic  cava- 
tina  for  Euryanthe  ("Hier  am  Quell  wo  Weiden 
stehn  ").  The  ringing  notes  of  the  horns  behind  the 
scenes  announce  the  approach  of  the  King's  party, 
who  sing  a  fresh  and  sonorous  hunting  chorus 
("  Die  Thale  dampfen  ").  The  remaining  numbers 
are  a  duet  for  Euryanthe  and  the  King  with  chorus 
("  Lasst  mich  hier  in  Ruh'  erblassen  "),  a  lovely  and 
melodious  aria  with  chorus  -for  Euryanthe  ("Zu 
ihm"),  a  bright  wedding-march  and  scene  with 
chorus,  and  a  duet  for  Adolar  and  Lysiart  with 
chorus,  leading  to  the  grand  quintet  and  chorus 
which  bring  the  opera  to  a  close. 


APPENDIX. 


WORK  of  this  kind,  by  whomsoever  written, 
must  be  somewhat  arbitrary  in  its  selection 
of  THE  STANDARD  OPERAS  ;  and  the  writer 
has  often  found  it  difficult  to  say  where  the 
line  should  be  drawn,  —  what  excluded  and  what  ad- 
mitted. In  addition  to  the  operas  treated  of,  there 
are  others,  without  a  mention  of  which  such  a  work 
as  this  would  scarcely  be  considered  complete ;  and  a 
list  of  these  is  herewith  submitted,  together  with  the 
dates  of  their  first  performance.  Many  of  these  are 
familiar  to  the  public  by  their  past  reputation,  while 
others  still  hold  the  stage  in  Europe.  Others  have 
never  been  given  out  of  the  native  country  of  their 
composers ;  and  still  others,  like  those  of  Mr.  Sulli- 
van, are  in  reality  operettas,  and  cannot  be  classed  as 
standard,  although  their  popularity  is  extraordinary. 

ADAM Le  Postilion  de  Longjumeau  (1835). 

AUBER Le  Cheval  de  Bronze  (The  Bronze 

Horse)(i835);  L'Ambassadrice 
(1836)  ;  Le  Domino  Noir  (The 
Black  Domino)  (1837)  ;  Zanetta 
(1840)  ;  Manon  Lescaut  (1856). 


376  THE  STANDARD   OPERAS. 

BALFE Enchantress  (1845);  Satanella 

(1858) ;  Puritan's  Daughter 
(1861)  ;  The  Talisman  (1863). 

BENEDICT  ....  The  Lily  of  Killarney  (1862). 

CORDER Nordisa  (1887). 

DONIZETTI  .  .  .  Polinto  (1840);  Linda  (1842);  Maria 
di  Rohan  (1843);  Don  Sebas- 
tian (1843)  ;  Gemma  di  Vergi 
(1845). 

FLOTOW L'Ombre  (1869). 

GOETZ Francesca  von  Rimini  (1874);  The 

Taming  of  the  Shrew  (1874). 

GOLDMARK  .  .  .  The  Queen  of  Sheba(i875);  Mer- 
lin (1886);  Cricket  on  the 
Hearth  (1896). 

GOMEZ II  Guarany  (1870). 

GOUNOD Polyeucte  (1878). 

HALEVY L'Eclair  (1835). 

HEROLD Zampa(i83i);  Pre"  aux  Clercs(i832). 

ISOUARD    ....  Joconde  (1814). 

KREUTZER   .  .  .  Das  Nachtlager  in  Granada  (1834). 

LEONCAVALLO  .  I  Medici  (1893). 

MARCHETTI.  .  .  Ruy  Bias  (1870). 

MARSCHNER   .  .  Der  Vampyr  (1828) ;  Hans  Heiling 

(1833). 
MASCAGNI   .  .  .  L'Amico  Fritz  (1892)  ;    I  Rantzau 

(1892);  Silvano  (1895);  Gugli- 

elmo  Ratcliff  (1895). 
MASSE1 La  Reine  Topaze  (1856)  ;  Paul  et 

Virginie  (1876). 
MASSENET    .  .  .  Le  Roi  de  Lahore  (1877);  Manon 

Lescaut (1884) ;  Le  Cid  (1886)  ; 

Esclarmonde  (1889). 

NICOLAI Merry  Wives  of  Windsor  (1849). 

PACINI Saffo  (1840). 

PLANQUETTE  .  .  The  Bells  of  Corneville  (1877). 


APPENDIX. 


377 


POXCHIELLI    .  .  La  Gioconda  (1876). 

Ricci Crispino  (1850). 

ROSSINI La  Gazza  Ladra  (iSty);  Moses  in 

Egypt  (1818). 

RUBINSTEIN  .  .  Dimitri  Donskoi  (1852);  The  Demon 
(1875);  Feramors  (1863). 

SAINT  SAENS  .  Le  Timbre  d' Argent  (1877);  Etienne 
Marcel  (1879)  ">  Henry  VIII. 
(1883)  ;  Proserpine  (1887). 

STRAUSS  ....  Indigo  (1871) ;  Die  Fledermaus 
(The  Bat)  (1872)  ;  Der  Lustige 
Krieg  (The  Merry  War)  (1875). 

SULLIVAN.  .  .  .  Trial  by  Jury  (1875);  The  Sor- 
cerer (1877)  ;  Pinafore  (1878)  ; 
Pirates  of  Penzance  (1880) ; 
Patience  (  1881  )  ;  lolanthe 
(1882);  The  Princess  (1883); 
The  Mikado  (1885)  ;  Ruddy- 
gore  (1887)  ;  The  Yeomen  of 
the  Guard  (1888);  King  of 
Barataria  (1889)  ;  Hesse  Halb- 
pfennig  (1896). 

SUPPE Fatinitza  (1876);  Boccaccio  (1882). 

THOMAS Hamlet  (1868);  Franchise  de  Ri- 
mini (1882). 

VERDI The  Sicilian  Vespers  (1855);  La 

Forza  del  Destino  (Force  of 
Destiny)  (1862);  Don  Carlos 
(1867). 

WALLACE.  .  .  .  Lurline  (1860). 

WEBER  ....  Abu  Hassan  (1811);  Preciosa 
(1823). 


INDEX. 


ADAM,  32,  63,  71,  277. 

African,  The,  160,  161,  185. 

Aida,  239,  262,  272. 

Albani,  79. 

Alboni,  161,  162. 

Alceste,  106. 

Alvary,  121. 

Anna  Bolena,  75. 

Appendix,  375. 

Arditi,  284. 

Armide,  106. 

Attila,  238. 

Auber,  9,  14,  16,  17,  18,  24,  258. 

BACH,  126. 

Balfe,  25,  26. 

Balzac,  149. 

Karber  of  Seville,  210,  212. 

Beaumarchais,  192. 

Beethoven,  36,  39,  209,  312. 

Bellini,  43. 

Benedict,  365. 

Berlioz,  289,  358. 

Bizet,  54,  57,  59,  138. 

Bohemian  Girl,  26,  31. 

Boieldieu,  60. 

Boito,    65,    239,     266,     267,     270, 

271. 

Bosio,  ii,  244. 
Braham,  15,  365. 
Brandt,  117,  121. 
Bulwer,  277. 

CALV^,  149. 
Carmen,  55. 
Cavalleria  Rusticana,  155. 


Cenerentola,  211. 
Cherubim,  60. 
Chopin,  225. 
Costa,  358. 

DAMROSCH,  121. 

Daughter  of  the  Regiment,  76. 

Delibes,  71. 

Der  Freischiitz,  357,  358,  367. 

Die   Gotterdammerung,    309.   311, 

3<5>  335- 

Die  Walkiire,  309,  315,  323. 
Di  Murska,  284. 
Dinorah,  160,  176. 
Don  Carlos,  239. 
Don  Giovanni,  191,  198,  219. 
Donizetti,  75,  88,  95. 
Don  Pasquale,  76,  83,  91. 
Don  Sebastian,  85. 
Dumas,  249. 
Duprez,  80,  86. 

ERNANI,  238,  239. 
Euryanthe,  357,  365,  371. 

FALCON,  Cornelia,  138,  161. 

Faure,  176,  185. 

Faust,  125,  132,  253. 

Favorita,  76,  80. 

Fidelio,  37. 

Flotow,  96. 

Flying  Dutchman,    160,  275,  284, 

294. 

Formes,  98. 
Fra  Diavolo,  10. 
Francesca  di  Rimini,  112. 


38o 


INDEX. 


GALLI-MARIE,  55,  232. 

Garcia,  212,  213. 

Gazza  Ladra,  211. 

Gluck,  105. 

Goethe,  65,  127,  160,  232,  294. 

Goetz,  in. 

Goldmark,  116. 

Gounod,  125,  138. 

Grimm,  144. 

Grisi,  44,  51,  80,  83. 

HALEVY,  137. 

Hansel  and  Gretel,  143. 

Harrison,  19,  27,  32,  176. 

Hastreiter,  Heleue,  107. 

Haydn,  36,  37. 

Heine,  143,  284. 

Hueffer,  276,  300,  309. 

Hugo,     Victor,     92,     239,     240, 

244. 

Huguenots,  160,  161,  180,  211. 
Humperdinck,  142. 

IDOMKNEO,  191. 
I  Medici,  148. 
I  Pagliacci,  149. 
Iphig(5nie  en  Aulide,  106. 
Iphigenie  en  Tauride,  106. 

JAHN,  209. 

Jewess,  138. 

Juch,  Emma,  107,  227. 

KELLOGG,  Clara  Louise,  79,  237, 
284. 

LADLANCHE,  44,  51,  83,  85,  238. 

La  Dame  Blanche,  61. 

Lagrange,  97. 

Lakme,  72. 

L'Allemand,  72,  112,  227. 

L'Amico,  Fritz,  155. 

Last  Rose  of  Summer,  100. 

L'ficlair,  137,  138. 

Lehmann,  117,  121. 

L'  Elisir  d'  A  more,  75,  89. 

Leoncavallo,  148. 

Lind,  Jenny,  77,  79,  160,  167,  169, 

170,  171,  238. 
Liszt,  225,  276,  277,  294. 


Lohengrin,  275,  294,  304,  309,  340, 

3?i- 

Lombard!,  238. 
Lucca,  186,  237. 
Lucia,  76,  86,  95. 
Lucrezia  Borgia,  75,  92. 
Lurline,  350. 
Luther,  Martin,  164,  166. 

MAGIC  FLUTE,  191,  204. 

Malibran,  38,  48. 

Manon  Lescaut,  137. 

Mario,  15,  So,  83,  85,  92,  162,  244. 

Maritana,  34^;,  350. 

Marriage  of  Figaro,  191,  192,  198, 

201. 

Martha,  98,  253. 
Masaniello,  14,  176. 
Mascagni,  153- 
Masked  Ball,  239,  237. 
Massd,  138. 
Materna,  340. 
Maurel,  267. 

Meistersinger,  276,  303,  310. 
Mendelssohn,  142. 
Mendes,  Catulle,  151. 
Mephistopheles,  66,  239. 
Merim^e,  55. 
Merlin,  116,  121. 
Meyerbeer,  138,  159,  161,  176,  185, 

211,277. 

Mignon,  231,  232. 
Miolan-Carvalho,    126,    131,    134, 

176,  244. 
Mireille,  126. 
Mosenthal,  117. 
Moses  in  Egypt,  211. 
Mozart,  36,  37,  142,  190,  193,  204. 

NERO,  226. 

Niemann,  288. 

Nilsson,  66,  237,  250. 

Nohl,  318. 

Norma,  44. 

Nourrit,  138,  161,  171,  220. 

OBBRON,  357,  358,  365. 
Orpheus,  106,  107. 
Otello  (Rossini),  211. 
Othello  (Verdi),  239,  266. 


INDEX. 


PACINI,  358. 
Paisiello,  211. 
Pautaleoni,  267. 
Parepa-Rosa,  192. 
Parsifal,  276,  340. 
Pasdeloup,  276. 
Pasta,  44,  48,  75. 
Patti,  79,  250. 
Persian!,  86. 
Piccini,  106. 
Piccolomini,  27,  250. 
Preciosa,  357,  358. 
Prophet,  The,  160,  180. 
Puritani,  44,  50. 
Pyne,  19,  32,  176. 

QUEEN  OF  SHEBA,  117. 

RAMEAU,  105. 

Reeves,  19. 

Rheingold,  309,  310,  314,  319. 

Richings,  Caroline,  79. 

Richter,  276. 

Rienzi,  160,  275,  277,  285. 

Rigoletto,  88,  239,  244. 

Ring  dei  Nibelungen,  276,  300,  309, 

34i- 

Robert  the  Devil,  160,  171. 
Robin  Adair,  63. 
Romeo  and  Juliet,  131,  136. 
Ronconi,  n,  244. 
Rosa,  Carl,  143,  284. 
Rose  of  Castile,  32. 
Rossini,    25,   44,  76,   82,  138,   174, 

210,  266,  371. 
Roze,  Marie,  66. 
Rubini,  44,  48,  51,  75. 
Rubinstein,  225. 

SALIERT,  193. 
Sammartini,  105. 
Santley,  134,  284. 
Scaria,  340. 

Schickaneder,  204,  205. 
Schiller,  36,  220,  312. 
Schrbder-Devrient,  277,  284,  288. 
Scribe,  10,  14,  19,  48,  61,  S2,  i3S, 

160,  161,  166,  171,  172,  180,  185, 

258- 
Semiramide,  2 it,  216. 


Shakspeare,  97,  112,  131,266. 

Sicilian  Vespers,  239. 

Siegfried,  309,  310,  311,  315,  329, 

337.  338,  340. 
Sonnambula,  43,  48. 
Sontag,  79. 
Spohr,  285. 

Star  of  the  North,  160,  166. 
Staudigl,  171. 
Stradella,  102. 
Stritt,  117. 
Sullivan,  375. 

TAGLIONI,  171. 
Tamburini,  44,  51,  83,  162. 
Taming  of  the  Shrew,  in,  112. 
Tancredi,  210,  216. 
Tannhauser,  275,  288,  294. 
Tausig,  312. 
Thalberg,  225. 
Thillon,  19,  76. 
Thomas,  Ambroise,  231. 
Thomas,    Theodore,    54,  71,   107, 

229,  276. 

Tichatscheck,  277.  , 

Titiens,  134. 
Traviata,  239,  249,  253. 
Trebelli,  134. 
Tristan     and     Isolde,    276,    299, 

310. 
Trovatore,  239,  253,  262,  266. 

ULRICH,  in. 

VERDI,  238. 

Viardot-Garcia,  107,  162,  180. 

Vogler,  159,  356. 

Von  Billow,  in,  277,  299,  304. 

WAGNER,  18,  58,  65,  70,  122,  142, 
143,  144,  160,  220,  266,  272,  275, 
288,  312. 

Wallace,  349. 

Weber,  356- 

Wette,  Adelheid,  143. 

William  Tell,  138,  176,  211,  220. 

Winckelmann,  340. 

ZlNGARELLI,  43. 

Zucchi,  186. 


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